Evening Star Newspaper, May 3, 1925, Page 48

THE SUNDAY STAR, WASHINGTON, Pan-American Conference on Capital Cities an Event of Special _Interest During the Week—Freer Ganery Changes Exhibits—Arts Club Exhibitions. BY LEILA MECHLIN. HE special event of interest during the past week was the nan-American .conference on capital citles, held here on Monday and ‘Tuesday, under the auspices of the Washington com- mittee on the ‘Federal City of the American Civic Association and co-operation with the Pan-American Union. An international conference on city planning was held the previous week in New York. To this confer- ence had come representatives of the leading nations abroad, city planners of international distinction. To get them here to Washington to see our Capital City and to bring them in touch with the representatives from South America was an excellent idea. At the luncheon at the Mayflower on Tuesday, seated at the head table, were representatives of Great Britain, France, Holland, Germany and the United States. In what better way can world peace be secured than through the establishment of com radeship on the common basis of art? Here was true evidence of common in- terest engendering good will through @ practical association of practicing artists, coworkers in a great scheme for the betterment of mankind. And city planners have every right to the title “artist.”” The pictures which they paint are as truly, or should be as truly, works of art as those waich are painted with brush and pigment. The medium they use is different, that is all. Furthermore, a city planner, to be successful, must have visual imagi- nation plus a genius for diplomac; In his introductory remarks ired eric A. Delano, president of the Amer can Civic Association, called attention to the fact that the City o ton had been developed largely under the auspices of the Army. having been planned by a French army engi- neer and to a great extent developed under the direction of engineers of our own Army. Thus predicated, he ir troduced Gen. Pershing, who with a few words of appreciation made acknowl edgment. Raymond Unwin, chief archi tect of the British ministry of health, author of one of the leading works on in | Washing- | { of the art of city planning in France. He paid a gracious compliment, how. ever, to England for the development of garden cities, and thus prepared the way for the third speaker, Ebe- | nezer Howard. president of the In- } ternational Federation for Town and | Country Planning and Garden Cities in | England, the father of the garden city movement. Mr. Howard said that his | first impression of New York was of | the great power behind the city life, but that he sorely missed there an ex- pression of beauuty, and he made a strong plea for improvement in-the | housing of the poor, in order that the | proper esthetic as well as hygienic in- fluence should be broughtyto bear upon the child in his or her early sur- | roundings. Dr. Arie Keppler, director of hous- ing in Amsterdam, Holland, carried on this theme, but chanced to say, in the course of his remarks, that he was surprised to find that we were not making a new architecture in this country, as they were endeavoring to | do_in his. The last of the foreign | speakers Dr. Robert Schmidt, di- rector of the Regional Planning Fed- | eration of the Ruhr, Essen, Germah { under whose charge over 300 region: | cities and towns have been planned. | He stressed particularly the impo | tance of distributing rather than cen- tralizing the life of the people, in or- der that all might enjoy the best liv- ing conditions, To the city of Washington hi praise was given by each speakdr, i though polite little warnings were {dropped concerning’ the smoke nui- ance, realty development and other | dangers, which were obvious to even | the two-day visitor from abroad. It was an extraordinarily interesting oe- an art event of very conspicu IIT is the policy of the Freer Gallery |+ of Art from time to time to change its exhibits. Galleries I, II, III and 1V, given over to the works of Amer- ican cotemporary artists, have been | entirely rearranged recently. In gal- leries I and II are now to be seen collections of prints by Whistler—38 lithographs and 30 etchings, selected | sentiany this amazing mian strated. Galleries IIT and IV have aiso been rearranged, and to them certain addi- tions have been made, but one finds therein old friends as well as new. Facing the doorway in gallery III is Abbott Thayer's masterly work, “The Virgin,” leading out into the world the boy and the girl, each held by a hand. On opposite walls are Thayer's beautiful paintings of Capri and of Mount Monadnock—works which pos- sess, in common with the figure painting, a sense of aloofness from the little things of life and a large conception of beauty, These paintings made a profound impression upon the painter, Iromkes, when he was in Washington arranging his own exhi- bition at the Corcoran Gallery recent- ly. and he spoke of them in greatest admiration and with reverent regard as great works of art. In this same room are seen for the first time, ing outdoor pictures by the late Willard Metcalf—"The Old Church, Deerfield,” and a nocturne, *“The White Lilacs,” both peculiarly charac- teristic of Mr. Metcalf’s style and es- in keeping with the works of such painters as Thayer, Whistler, Twachtman and Dewing, whoare like. wise represented in the Freer collec- tion. “The Old Church, Deerfield,” is painted with little short strokes of clear color, in @ manner which sug- gests the sparkle of light and move ment of foliage. “The White Lilacs,” to the contrary shows the entire can- vas covered and a beautiful surface texture almost uribroken. It is remin iscent more than a little of the “May Night” in the Corcoran Gallery, and the “Benediction,” the last of which, it said, was painted as a protest is fully demon- now to be two_charm- jagainst the methods of the modernists, All three of these nocturnes have es- sentially lyrical quality and are works full of the mystic charm of,moonlight in the country. Among the other paintings lately placed on view and unseen heretofore | years slip b; in Washington are a self-portrait by Whistler, and a “portrait in blue,” by T. W. Dewing, which would certainly have enchanted the master himself; CRERE gt - OLD CHURCH, DEERFIELD.” A lel;\Tl\q F\' WILLA,RVD L. MEICALF. city planning and a city planner of very great distinction, was the first of the announced speakers and in his very brief address gave the matter of city planning, an international turn, de- claring that it was not the ideal of the Internationzlists to eliminate the indi- viduality of nations and thus bring the world down to a dead level of mediocrity, which would be deplorable. Every city, he claimed, should have its own individuality and be developed in accordance therewith. But cities he said, are like individuals—the greater they are the more marked their virtues and their defects. We should look, he insisted, for what is good in what is different, we should endeavor to appreciate virtues and to tolerate defects, to learn by all, to copggnone. An_excellent rule, not e, for city planners, but for crit- ics of art and for life in general. M. Bassompierre, architecte du I'of- fice du departmente de la Seine, fol fowed Mr. Unwin and spoke in French, very clearly and distinctly and with special reference to the development for the most part from the Venice set and the “set of 26 etchings,” many of which bear in pencil Whistler's mark as printer as well as the etched signature. The lithographs are in one gallery, the etchings in another, and they afford to the collector a feast themselves. What consummate drafts- manship, what amazing sensiti of feeling, these works evidence! eem so slight, vet they are so com- pletely satisfying. What a vast differ- ence there is between the Whistlerian manner of elimination and that of ¢ of the present-day modernist ler's work is essentially ex. te and refined; never does it shout for attention; never is it brutal or vulgar, crude or haphazard; at least, not when he worked with pencil or pastels or the etching needle. What he gives us is the essence of beauty, the spirit, the soul, and he finds it as often in the commonplace as in the extraordinary. In these etchings and lithograbhs now on view, as in the little gallery of water colors, pastels |and crayon drawings, the genius of besides a boat picture, “Drying Sails,” by Twachtman, probably painted years Gloucester and rather more pos- itive in style than most of Twacht- man’s works. In Gallery IV, may be seen at pres- et two comparatively recent paint- ings by Sargent, the kind of pictures which Sargent painted for his own pleasure and in which, in the opinion of the art critic of the New York Times, the real Sargent showed him- self. in which, in short, his genius rose to the highest level And after seeing all these, the vis- itor will do well to go down’ the long corridor to the opposite end of the building, passing by-the-way, the charming court in which are tree-like wisterias and covered with drooping purple blossoms, and gay azaleas, lending a flash of red, to that section given over to oriental art, where will be found two newly acquired Chinese bronzes, a vase and a_libation cup, both of rare quality, witnessing to & development in craftsmanship and ar- tistic feeling in which has never been S b 5 L CHINESE BRONZE OF THE CHOU WINE VESSEL, AN IMPORTANT OF Clll‘\'k‘.fl‘] BRONZES IN THE FREER GALLERY. exceeded if ever attained elesewhere than in the Orient. Little galleries such as this are a great boon to the visitor., and as the come upon those who make this city their residence, what a rare benefi- clence the Freer Gallery truly is. * % DL'RING the war an organization | was formed in this country called “The Fatherless Children of France, Incorporated.” Its object was the relief of needy French children under 16 years of age, orphaned as a result | of the World War. This association collected over eleven and a haif mil lion dollars for the support of these children in their own homes, in most instances under the charges of their own mothers, and the work was car- ried on up to four vears ago. While it was In progress, with the object of arousing further interest and gain- ing additional support a “book” com- prising a collection of original, signed manuscripts, etchings, drawings and photographs, contributed by famous men and women was got together, the intention being to sell it. either at public auctioin or piece by piece. o add to the fund. For some reason, however, this was never done: the collection is still intact. and through the courtesy of Seymour L. Crom- well and Philip Posener, president and general manager, respectively (dur ing the war), of the Fatherless Chil- dren of France, Inc., this "book” has now been deposited as a loan in the Library of Congress for the purpose of exhibition. So voluminous is it, that only one-fifth of the contents can be put on view. As lending especially well to exhibition the section contrib uted by the artists has been given gen- erous place. It is a curious, heterogeneous, and extremely varied assemblage, made up not alone of works by Americans, though the bulk of it came from painters, etchers, sculptors and archi- tects of this country. There are, for more and more, it must | 192: D. C, MAY 3, DYNASTY, A CEREMONIAL ADDITION TO THE COLLECTION ’v\;nu])l(‘. portrait drawings in pencil "m Abbott H. Thayer, Kenyon Cox. John S. Sargent, Joseph DeCamp: | etchipgs by Frank Benson, Sears Gal lagher, Stephen Parrish, Arthur Heintzelman: studies in water color by Horatio Walker and the well known British painter-etcher, D. Y. Cameron Ralph Adams Cram contributed an original pencil drawinz of Rheims Cathedral, and Charles Connick a de | sign for stained glass, “St. Genevieve " There little bluebird es E. Heyl. a water color | painting and an original cartoon by Louis Raemaker, a charcoal drawing | by Paul Albert Besnard, and numer- | ous other works of no less notable uality, interesting in themselves and recalling vividly the splendid way in which the artisis responded to endless calls during the war, giving invariably of their best | A NEW series of exhibitions opened at the Arts Club, 2017 I' street, yesterday. These comprise oil palnt- {ings by Gladys Branni formerly of Washington, now of New York, and Frank E. Schoonover of Wilming. Del., who was a pupil of Howard | Pyle, one of our best known fllustra- tors; and woodcuts by Wharton Har- vis of Philadelphia. * * ¥ BURNSIDE wife, Lucile Hitt Burnside, an- nounce a Summer class in oil and water color painting during July and August at Lake George, N. Y. Both Mr. and Mrs. Burnside are members of the Washington Society of Mural Painters and have exhibited at the Paris Salon, the Royal Academy, Lon- don, and other great exhibitions. Mr. Burnside's paintings have been ac quired by the French Government and prominent collectors in France, Eng land, Japan and the United States. At | present they are occupying a spacious studio at 532 Seventeenth street, | where they will continue their pammt. |ing and teaching next Winter, return- ing to this city about September 4. | de Paris {by Cha a { by | ton. AMERON 4nd his New Books at the Public Library May 3-9, 1925, is National Music week. The following list contains the most recent accessions to the Library’s music collection. which contains books of musical history and criticism, biog- raphies of musicians and representa- tive musical scores. Special attention is called also to the periodicals on mu- sic, which may be procured in the reference room: _ Musical America, Musical Courier, Musical Digest, Mu- sical Quarterly, Music Bulletin, Violin World and The Etude. Music. Brower, H. M. Vocal Mastery. 1920. VXV-B813v. Dann, H. E., and Wood, W. L. Glee Club Songs for High School and College. _VZV-D226g. Dont, Jacob. 20 Fortschreitende Uebun- gen fur 2 Violinen. v.1. VXUA- D716a. Duos Clessique for 1877. VZCO-D92. Evan: Edwin. Beethoven's Nine Symphonies. v. 1. VVIs-Ev16. Flesch, Karl. The Art of Violin Play- ing. v. 1. VXU-F638. Frederick, W. H. Clarinet Book for Beginners. VXC-F87 Kayser, H. . 36 Violin Studies. VXUA-K187. Kidson, Frank. The Beggar's Opera. 1922, VVIo-K547 Kreutzer, Rodolphe. v or Caprices for the Violin. VXUA-KS88e. Lefort, Augustin. 2 Cornets. 2v. Methode Complete v. 1914, VXUA- Mendelssohn-Bartholdy, Felix. Quar- tette fur 2 Violinen, Bratsche und Violoncell. VYC-M523q > Music for the Violoncello with Piano Accompaniment. 2 v VZUO- M97a. ; Noskowski, Siegmund. Melodie pour Violon et Piano. VZU-N86. Reeves, J. B. The Hymn as Litera- ture. VVIR-R25. Rovelli, Pietro. Twelve Caprices for Violin. 1910. VXUA-R768. ver, H. S. ed. Somgs While. VZV-Sa98s. Schradieck, Henry. The School of Violin Technics. v. 2 1900. VXUA-Sch67. Sevcik, Ottakar. Technik. v. 1. Timerman, Helen. Beautiful Tone on VXUA-T48. Tutor for the Distin Ballad Horn. VXHO-TS. Wienfawski. Henri. Etudes-Caprices Pour Violon. 1921. VZU-W§3Ze. Wier, A. E. ed. Modern Piano Pieces the Whole World Plays. VZP- W634m. ‘Wier, A. E. ed. the Whole World Plays. 1919. VZU-W633m. Wier, A. E. ed. Standard Organ Pleces the Whole World Plays. VZOR-W633s. Py ‘Wier, A. E. ed. Standard Violin Con- certos_the Whole World Plays. 2 v. VZU-W633s. ‘Wilkinson, C. W. ‘Well Known Piano Solos. . VXPA-W637wa. Musical History and Aids. Beck, A. L. King of the Castles. Li- bretto. VYOL-B383k. Brower, H. M. What to Play—What to Teach. VXPA-B813w. Damrosch, W. J.,, and others. The Universal School Music Series: Teachers’ Book. VWX-D187u. Faulkner, A. S. Music in the Home. 1917. VWE-F275. Finck, H. T. Musical Laughs. F492ml. . Gehrkens, K. W. The Fundamentals of Music. VWF-G27. Hamilton, C. G.. and others. Music Theory for Piano Students. 1. VWF-H186m. Worth School of Violin VXUA-Se8s8. How to Produce a the Violin. Modern Violin Pieces 2.V, VV- Landormy, P. C. R. sic. VVI'LZ3.E. Mason, D. G. From Song to Symph- ¥, VWE-M386L. D. T. Introduction to Music Appreciation and History. VWD- | 1871, | Mus Amel, VVE3-6M9. Pratt, W. pedia f Ref. -VV. Scholes, P. A. of Music. Silber, Sidney. Students. VWX-Si32, Spaeth, S. G. _The Common Sense of Music. VWE-Sp13. Wagnalls, Mabel. Opera and Its Stars. VV10-Wi230. Watkins, M. F. First Aid to the Op- era-goer, VV10-W324f. Zangarini, C., and Golisciani, E. The Jewels of the Madonna. Libretto. 1912. VYOL-Z16. A History of Mu- ca's Guide, 1924. Ref. S. ed The New Encyclo- usic and Musicians. stener's History VV1-Sch5 1. Reflections for Music v Biographies of Musicians. Armstrong, William. World of Music. 9Ar56 Confessions _ of VW10-C763. Flower, W. N. George Frideric Han- del. VW10-H193f, Jeritza, Maria. Sunlight W VW10-J474.E. Marchesi, Blanche. Singer’'s Pilgrim- age. VW10-M333. Eris Rimskii-Korsakov, N. A. Life. VWI10-R463.E. The Romantic 1822, VW1o- a Prima Donna. and Song. My Musical EMIES OF YOUTH. By ickett Wi 3 Plokett, ashington: TOMMY TUCKER ON ! PLANTA- TION. By Doroth L_\znan Tosteh Foreword by Louise P. Latimer. II. lustrated by L. J. Bridgman. Bos. ton: Lothrop, Lee & Shepard Co. PUBLICITY; Some of the Things It Is and Is Not. By Ivy L. Lee New York: Industries Publishing .\Lb’l“flk! ANDOV! e of Steve Fisher and Friends. By Claude M. Foous, b lustrated by John Goss. Boston: Lothrop, Lee & Shepard Co. PHYSICAL TRAINING MANUAL. By Sergt. Arthur W. Wallander. Police Training _School of New e Clty. New York: Siebel Press. HE THEOSOPHICAL MOVEMEN’ 1875-1925; A History and .Egiulrzzx:;‘: New York: E. P. Dutton & Co. MINNIE FLYNN. By Frances Mar- ion. New York: Boni & Liveright. DAWN ISLAND. By Cecil Adair, author of “Silver Star-Dust,” etc. New York: Greenberg, Publisher, ne. A GOLDEN TREASURY OF IRISH VERSE. Edited by Lennox Robin- son. New York: The MacMillan Company. EXPANSIONISTS OF 1812% By Julius W. Pratt, Ph. D., assistant pro- fessor of history in Rutgers Uni- versity. New York: The MacMil- lan Co. THE GENEVA PROTOCOL. By David Hunter Miller. New York: The MacMillan Co. RECONSTRUCTION. By J. D. Whelp- ley, author of ‘“The Trade of the World,” etc. New York: Funk & ‘Wagnalls Co? A SHORT HISTORY OF AMERICAN RAILWAYS; Covering Ten Dec- ades. By Slason Thompson. II- lustrated. Chicago: Bureau of Rail- way, News & Statistics, 3 Deets Capital ER; The School 5—PART 2. Hex;ry G Wallace. Former Secretary of Agriculture. Writes About the Farmer—A Few of the New Novels. Phillpotts Has a New Volume. I JDA GILBERT MYERS. OUR DEBT AND DUTY TO THE FARMER. By Henry C. Wallace, former United States Secretary of Agriculture. New York: The Cen- tury Co. T is hard to think of the farmer collectively, as we so naturally do think of the manufacturer, the merchant, the financier, the craftsman—indeed, of the repre sentative of every other business than that of farming alone. And there is good reason for this general inability to consider the farmer as anything but ~an individual. = For that's what he -is—the greatest indi- vidualist on earth! A reason for this, too. Primarily, a physical cause separates farmers from one another. Acres of intervening land, often miles of lund, stand in between, producing an actuul separation which in the course of time registers upon the mind, inducing habits of independent thought, of exclusive ways of ap- prouch, of self-decision, of no little self-pride as well in such single powers of achievement. That which from necessity brought about this clear individualism came finally from choice to be the means of perpet- uating it And the farmer, either from self- complaceney or the short outlook of his position, held aloof from that close getting together that, under modern conditions, has driven all other callings into the safer and more benefictal course of association, organization—vast groups operating with something of the simplicity of the individual and with all of the ef- fectiveness of highly concentrated power. So, we see the farmer as & unit, because he is a unit, We see the others as dynamic bodies because they are such. In this seeing, how- ever, we do the farmer an uncon sclous injustice—the injustice of ig norauce. This book tells us many things bout the farmer which we could not know without some such authorit of information. For instance, we find here that he makes up almost half of our population; that farmers exceed In number any other group engaged in one general industry; that the ‘investment in agriculture exceeds the investment in any other business. The farm, without ques- tion, breeds our strongest and most self-reliant men and women. The open ‘fields, the long days in the free air, the self-communings, the unaid- | ed concluslons—these are of the stuff of this class. Therefore, when our country is in the stress of war, or any other calamity, it is the farmer who sends the strongest vouth to the front and who provides the food that not only wins wars but as- suages desperate wants as well. This, | but a glimpse of the bulwark behind | the cities, comes out in this story of the farmer—what he is, what we owe him, not entirely as a duty rather as a life-saving obligation in- stead. * % kK Through this careful preliniinary study, both from the outlook of one whose business has been in the fields of planting and harvesting and from the high official standpoint of Secre- tary of Agriculture, where the entire field lies open before him, Henry Wal- lace leads up to the period of depres- sion that fell upon the farmers in 192 and within ‘which they are struggling for relief. He points the outstanding cause of this dilemma in the slow re- adjustment following the war. Gath ered here in concise statement is the story of the intensive and expanded production of war-food grains, of the purchase of more land at exorbitant prices and under defective financial aid for the further prosecutfon of the long war so geherally foretold. Then the sudden peace. The over- stocked market. The decline in pries. Land payments overdue. The slow and reluctant settling back to diversi- fied crops to relieve the glut in grain production—a Mng story of failure, disappointment and bitterne: A situation around which experimental legislation has played and upon which political ambition has built. Here, however, the author deals expertly with the bare facts of the situation stated. simply, briefly and very feel- ingly. Here is a book for every reader who appreciates the fundamental rela- tion of each citizen to the farmer, and for those who, having gleaned here and there from the daily press, wish to gather that scattered knowledge into an authoritative and readable summary of the case of the farmer and of the relation of the rest of the country to this representative of our basic needs. R A TO BABYLON. By Larry Barretto, author of “A Conqueror Passes.” Boston: Little, Brown & Co. ’I‘Hr-: poor boy going out into the great world to seek his fortune is an old story, much older even than that of Dick Whittington, and hardly ever so bright a tale as the one that finally raises young Dick, the tramp, to the high office of Lord Mayor of London Town. Defeat, however, or at the best but a partial success, gives the glory of the fight as well as does shining victory. So, this has been the theme time and time again of poet and story-teller,, It is Larry Bar-| retto’s theme here. “Babylon is New | York. And a youth out of the West | goes there to seek his fortune. A | gifted youth, whose dream is to create | fine buildings—houses, churches, of-| fices, halls, the whole sum of beauty | that, in his dreams, will crystallize to | fact under his hand. | Oh, this is a very old story! The first fine rapture of the eye, the first | heroic resolve to be faithful to the | dream, the first assault upon the in- trenched security of Babylon, the self- denial, the brave gesture against i couragement—and the imperceptible descent. A charming boy, this one, whose charm i his undoing. A real story, you see. Easy places are opened to him, girls smile upon him, his capital for producing things of art changes, little by little, into capital for getting along in the world quite comfortably and profitably. Marriage seduces him. A perfectly true story, this. And the mistakes of marriage pursue him. Well-nigh do him up entirely. And when we take leave of this youth he is trying, dublously, to pick himself up and to brush himself off and to face again upon that real thing which he set out to find. Thou- sands may claim this story as their own. Mr. Barretto has paralleled ac- tual life here, but at just enough of a distance from actual life to secure realism without sordidness, at just the right distance to escape pure roman- ticism. Not very many catch this re- vealing mean of portrayal. A fine picture of the moment in its complex and bewildering demand upon the heart and head of youth. * x ok % THIS SORRY SCHEME. By Bruce Marshall. New York: Harcourt, Brace & Co. 7THE mistake comes from looking upon it as a “scheme.” So desig- nated, it is truly a “sorry” thing, pro- ducing bewilderment, mistakes, fears, sorrows. Not 50 calculated, to’ insure these results, however, if it'is frankly accepted as’ no really fundamental part of the universe subject to un- failing laws as are the stars in their gentleman Accepted, rather, as nature's | story courses. primary plan interpretations endless to which endiess havée been inhibitions have been im- mis- | rest—the applied, | posed—then the matter does begin, at | least, to show the quality of intellii- | exits of Lewis Defuniac, bility. We are talking about matri- mon: That is, Bruce Marshall talking about matrimony b honorable institution. 38| arts of way Of & | big enough to engage his atténtior dramatic treatment of this ancient and | something We are taught, | and impert. and accept, matriinony as a synchro- | nized stepping out of the immemorial two upon an exactly cadenced march through the storm and stress of life, A triumphal progress, this, by way of the harmony of spirit, the unity of plan that informs aud inspires it. Bruce Marshall, looking about, ap- pears to have found that many. of these matrimonial pairs break step when only a little way along the mari- tal course. Enough of them, so he implies, to make these limping couples subject for consideration. So we have here the man who tires of his wife and the wife who makes him tired. We find broken vows and unlawful con- sortings—the common expressions of matrimonial fatigue. Fine backgrounds &0 along with these errancies—France, England, Paris and.London and the outskirts of both. One is compelled to admit that the reassorting ali around is seemingly a little better than the original assignment. But this is, of course, wrong. So retribu- tion takes a hand—a cruel and dis- astrous hand. And everybody feels better, except those so badly ground up by the juggernaut. Whatever you may dislike or resent about this un- usually well made story, don’t blame its author. He s juerely telling the truth. Look after yourself instead * x K * JAR: A Novel. Meynell. New & Co. MOCKBEG rence W. Appleton “WE saw presently a deceiving house of flattering vanity that is called Mockbeggar.” This helps you with the title and suggests, be- sides, something of the frothy iri- descence of the story itself. Hardly a story either. Rather a gastronomic carnival—dinners u deux, a quatre, memorable dinners and some of more inconsequence, suppers and tea par ties, a nip at a bun. a bite at the celery or radish or whatnot—this it is along which the happy twos and fours and eights of this carnival make their frolicsome way. However, despite the evidence it is not eating t so fully engrosses this young company. Talk ing is their business. Right there where the single flaw in the whole delightful business appears. Too much talk will spoil anything under the sun When this talk is aimed exclusively upon the smart effec —why just little of that sort of talk goes a long way Nothing is worse to get away with, either mentally or physically, than' little square chunks of epigram with nothing in between to soften them and get them rightly placed in one’s insides. A half as much of th kind of discourse—yes, a quarter a much—would have made of this light and graceful little story just exact the thing that the author—obvious L: By Lau: York: D. better endowed with real gifts than he | is with self-control—designed it to be Seven stories made out of this one will give us seven brilliant hours of distinct and separate enjoyment. ok ox % PORTUGUESE SILVER. By Neville Buck, author of man In Pajamas,” etc. The Century Co. BY, taking recent account of Portuguese settlements along the New England coast, writers of fiction are giving many a fresh turn to the deeply conventionalized character of that locality. This coast connotes the Pilgrim Fathers of dour and for- bidding mien. When an author dares to lodge an international criminal Charles A Gentle New York: Somewhere along the staid haunt of | cod and Puritan the very audacity of the move arouses attention. When, furthermore, he creates a settlement of Portuguese—true to life and, there- fore, as exotic to this soil as Kiu- Kiang to Harlem—this bright splotch of color along the gray coast becom a thing of lure. "And when a fine gentleman rides the nearby sea the whole Summer long in a beautiful yacht—what more likely to come to pass than that the whole coast of cod fishers should “allow” that this was the very rascal that the whole world of criminal hunters was after. A curiously self-assured man, this aloof, but not unfriendly yachtsman, upon whom every amateur sleuth from far and near is casting covetous but not over-confident glances. This THE ARTS el by Forbe Watsen America’s Foremost Magazine of Art “W ASHI} “THE ARTS devotes significant that are in tune with the of all time. Pening compromising. uable.” Ralph tures. the | | of leisure really is the and it's a good story. All the lovely ~ girl, “Portuguese Silver” himself, the excited but timid populace, are, in effect, but the & and properties for the entrances ar master *Ariadne,” and pursuit master when the qu rry of international spreac * % % A VOICE FROM THE DARK. B Eden Phillpotts, author of “Re cliff,”* etc. New York: The MacMil lan Compans STORY from Eden Phillpotts any theme whatever car it the assurance of good conscience for reasonable possesses. this writer a clear fhstinet for form of drama. Her unfailingly, devotion are rooted in_c: random out of 3 too, a sense of cumulative moveniey an instinet for the coherent quality of human racter, a feeling for the right atmosphere to support and sus- tain the whole. the mystery 1ale In hand this full equipment is much in evidence as when Mr. Phill potts s writing realism about his native Devon, about the homely peo ple that Devon and the sea have made. It is a child’s voice, th “Voice From the Dark.,” and fear its burden. It is upon t 1dy féa of childhood, capable ture ar finally of death its€lf, that th story of crime grows out of the lust fc money and the doing away with a that intervenes between abjec and the one bent upon i achieve ment. No hit-or-miss mystery fale this. A deep and gruesome story is true, but one that is at all points buttressed either by reason itself or by the unreason that now and then captures the human in his. quest o money and place. wor wi together the quality you will to effects se—not that plucked a su will find this CROSS TRAILS. By H author of “‘Carso etc. New York Stokes Co. TO send his thirty-ninth novel off in tep with the 1 Bindloss makes a st his alreac venture old Bindloss Red River erick Harold on ardy serviceable Bootleggin; pable of al or ingenious re ste dds kic ment, and the sharp ha to the more comman 0SS actions of shipwreck and wild border fights and struggles with Nc and snow and fier ess men. Not a mim to waste here. Every one has its s| cial demknd upon the two voung who are conducting enterprise of helping a greatly demanding really the fresh point in t loss story—this friendsh young men for ea ways yielding the c all friendship—that tween two men Unilike each to find in the other ment of himself—on other gay; one am satisfied; one dete vielding—they. to; meaning out of t lives and incidentally, permit author make one of the best of his mar trayals of lusty vouth in conflic life in open and relatively free regions. mer this momento h other out world. T enot the comple mined e 2 ful % % % THE MUMMY MOVE Gaunt, author of “The Uncounted Cost,” etc. New York: Edward J Clode. T may have been the Tut-ankh-Amer incident that turned the mind o the novelist over to the native of the matter, to a picture of the i1 evitable affront to deep raci and sanctities arc y tt tion of science. An easy crystalize this feeling of ou an oriental vendet European who h 2 to add to his store of antiq mystery hinges upon the t this antiquarian and to the n of one and another into whose pos session the object in turn comes Rather gruesome than really mysteri- ous, this succession of events. Rather the lavish piling up of odds and ends of wierd stuff than the logical-follow ing qut of the authentic clue. A story that needs weeding and pruning and a ep then rage into more careful nurture of the few healthy stalks left after this treat- ment. its pages entirely to the present and past ‘erand and therefo works of A% a recq today it the Pearson in How to See Modern Pic- GTON, IN ITS ENCOURAGEMENT OF CONTEMPORARY ART, IS PROBABLY THE MOST BACKW ARD CAPITAL IN ANY COUN- TRY OF IMPORTANCE” “IS THE CORCORAN —THE ARTS answers it. Forbes Watson, THE ARTS, May, 1925. ART GALLERY OF WASHINGTON, AFRAID OF CONTEMPORARY ART?" D. C, An artist asks this question Also in THE ARTS for May ARTICLES BY: V Ivins, j Leo Stein, Forbes Watson. rgil Barker, H. REPRODUCTIONS: George Bellows. Lilllan Westcott Hale, Henri Matisse, Ck Raeburn, Ellen Rand, Sargent, Maurice 1. Herbert Lippmann, Helen Appleton Read, H. L. Brock, Lloyd Goodrich, Wm. M. Schnakenberg, dward Bruce, rles Meryon terne, C. William Glackens, Ustad Muhammad, Zanon, AND AN ILLUMINATING SERI] THE ARTS: 19 East 59th Si A frank, outspoken, constructive book: NCLE SAM NEEDS A S OF REPRODUCTIONS OF PRIMITIVE ew York City; 50c a Copy; $5.00 a Year ART. WIEE By IDA CLYDE CLARKE Contributing Editor,“Pictorial Review” Is Uncle Sam married? Clarke says Ida Clyde “No. It is true, Uncle Sam proposed, in writing, in the Nine teenth Amendment. wedding come off? Why has not the Ask Mrs. Clarke. Then share with her the conviction that, above everything else, Uncle Sam need: wife. Rea woma: 100 per cent chapt the viewpoint of this foremo: thinker in her just indictment of n-ruled government in the pendthrifting along the Potomac. Read what she thinks of the need of a weman with a broad Lincoln viewpoint in our gevernment airs when she says— “Wanted—A Female Moses.” You may not agree with her, but you won't lay the bool digested the last A book wherever women meet—that men will discuss as well. aside until word. that will be discassed you have 302 Pages, lilastrated, Price $2.00 Net Obtainable wherever books are sold. _THE JOHN C. WINSTON CO. Publishers Philadelphia