Evening Star Newspaper, May 31, 1925, Page 48

THE SUNDAY STAR, WASHINGTON, D. C., MAY 31, 1925—PART 2. Washington Schools Completing the Scason With Art Exhibitions —Work of the Corcoran Students—Galleries to Remain Open During the Summer — Fellowships in painting and Sculpture. con- tribution to foday's paper (the final one of the current season) Mixs Leila Mechlin completes writer on art news and as art critic for The Star. It is thought that this record will wpare favorably with that of <t any person occupying a position in newspaper a. of Miss Mechlin, etary of the Ameri- can Federation of Arts and edi- tor of The American Magazine of Art, has been highly appre- aln similar in Ame ciated ts, directors of art art lovers, and me n pursuing the same line of work. BY LEILA MECHLIN, HY closing of the season is d. as usual, by the an- exhibitions of = student the output of the school vear. This exhibition in the in Gallery of Art is set forth in A the great eml-circular on the second floor adjacent to the picture galleries, wherein the spe- exhibitions are regularly held isplay fills this gallery almost from floor to ceiling. and gives excel lent evidence of hoth industry and purpose on the part of the students. 1t is an exhibition which would stand ¢ on with that of any of the art schools in our Eastern cities. There are drawings from the an- > and life paintings from the liv- model and still life, memory draw- and ind_composition, they uphold a academic The drawings from the ire espectally forceful and nz. One would naturally ex- his department to find the zinality in the matter of pres- and the more feeble tech but the contrary is the fact, ny of these drawings from s evidence much more than a < of talent on the part of the stu- ¢ draftsmen. The life drawings are impressive, serfous, stu- but again the observant nnot fail to regret that bet- are apparently not avail- The object of an art school is ely to teach drawing, but to te ideals in art which will lead \e finest and most inspiring ex- ion of beauty. The Greek ideals nded down to us in their sculp- c. but there is a long drop be- on this idealism which greets the ident in the threshold of his stud- 1d the reality of the living model. be well if the transition were ked and abrupt. . as it were, aside, for the in which the students in the Corcoran School have made their tran- scriptions deserves only praise. Par- arly _should commendation be given to the memory work and to the work of those in the night classes, in most instances, cannot devote entire time to their art. The showing made by these students, both wing and painting, is surpris- 1y good. In the work of the students of the nting classes one motes in this ex- ibition_ distinct advance. It is more direct, better in color and distinctly isper than it has been in the past. ot only is it academic, but up to dite. youthtul, vigorous. An interesting section of this ex- hibition is that given over to the work the -called composition class— quite in visitor ¢ ter mod: able not llustrative work, development of themes, the story-telling picture. Here e student has opportunity what he or she knows, to extent the instruction given has assimilated. The two studies won the prize in this group are particularly good. but a number of others likewise demonstrate original- 11y and imaginative quality—in short, « genuine gift The Corcoran School of Art s a free school and it offers the talented yare opportunity for instruction and velopment. It is essentially a school fine arts, training the student as a ofessional painter. Such training e students get here is immeas- valuable, for, after all, unless © artists we can have no art, irt is one of the most precious as- of civilization. * * ¥ x se VWORK of a distinctly different type is forth in the students’ ex- hibition the National School of Fine and Applied Art, 1747 Rhode Tsland avenue, which opened on May 22 and will continue to June 5. Here one finds art applied to interfor deco- vation, costume design, poster making and the like. It is colorful, interest- ing work of a distinctly modern sort, based on the latest theories. One sec- tion is given over entirely to the work ldren, and here one finds evi- of inherent talent. Much has 1id of the art work done by the n in Vienna under Prof. Cizek, STUDY BY MRS, ( but equally clever work can be and is belng done here in this country by children guided by equally inspired instructors. Ameng the children’s work shown in the exhibition at the Natlonal &chool of Fne und Applied Art are some engaging interpreta- tions of animals at the Zoo and of story {llustration. The advertising de- signs by students of more advanced years are colorful and decidedly of a professional standard. but most in teresting of all, perhaps, in this diver sified showing are the life drawings made by students according to the rules of dynamic symmetry. These are a revelation in themselves The director of this school, Felix Mahony, is well known as a carica turist, water colorlst and a student of the decorative arts. * % ok ok HE Phillips Memorial Gallery closes the first of June and will not reopen until Autumn, but the Corcoran Gallery of Art, the National Gallery and the Freer Gallery will be open all Summer, and should afford the best kind of recreation through the medium of their collections. As a matter of fact, the number of per sons who visit these galleries in the Summer months is surprisingly large—much larger than in the Win ter, probably due to the influx of visi- tors, tourists on their way North, or persons utilizing the Summer holi days to visit the National Capital The Corcoran Gallery has one of the best collections of American ings that exists, and among manent exhibits are many which will well reward study. the National Gallery in the National Museum are the Evans, Johnson and McFadden collections, the last a very valuable collection of paintings of the English school, which is temporarily loaned while awaiting installation in the new Philadelphla Art Museum E. V. Lucas, in his lately published book, entitled “A Wanderer Among Pictures,” notes the fact that works of the masters of this school are not common in European collections. We are particularly fortunate here in the possession of so many works by Rey- nolds, Romney, Raeburn and their confreres. In the Ralph Cross John- son collection, National Gallery of Art, is, without doubt, one of the finest Raeburns in existence, the portrait of a beautiful old man, a Scotch painter. The Freer Gallery should be found particularly inviting during the Sum- mer months because of its charming shaded court with tinkling fountain and cool foliage, around which its gal- leries are grouped. Here. indeed, are large possibilities of enjoyment and study, for besides what is on view there s much available for the seri- ous student. How little we all knew of the mysteries of Orental art. Where else in the world can they be studled so well as here? * 8% x 'HE American Academy in Rome has lately held a competition for fellowships in painting and sculpture. There were 21 candfdates in painting and 16 in sculpture. The jury on painting consisted of Edwin H. Blash- fleld, Ezra Winter, Eugene F. Savage. Francis C. Jones and Douglas Volk: the jury on sculpture, Daniel Chester French, Charles Keck and Adolph ‘Weinman. The fellowship in painting was awarded to Michael Joseph Muel- ler of Durand, Wis., for a painting entitled “Eternal Life.” Mr. Mueller is a student in the School of Fine Arts at Yale University. The sculp- ture prize went to Walter Hancock of St. Louls, who won the Widener gold medal in this year's exhibition at the Pennsylvania Academy of Fine Arts. Three honorable mentions were given LADYS NELSON SMITH. in each class—in painting to the work of Deane Keller, Michael Kelly and Orlando Ricci; in_sculpture, to the work of Anthony Di Bona, David K. Rubins and B. Piccirilll. These fellow- ships are awarded annually for a term of three years and carry with them a yearly stipend of $1,250, in addition to housing, studio and model hire. A new sculpture award was made pos- sible this year by the Parrish Art Museum fund, founded by Samuel L. Parrish of Southampton, Long Island. This year, for the first time, the works submitted in competition wers placed on public exhibition after the announcement of the awards. The Academy in Rome has a perma- nent office in this city in the historic Octagon House, owned by the Ameri- can Institute of Architects. The academy has a charter from Congress. ok k% IN this connection it {s interesting to for note that certain new fellowships advanced study abroad will, through the establishment of the John Stmon Guggenhelm Memorial Foun- dation, be available next year. It is the purpose of this foundation, after the first year, to maintain annually from 40 to 50 fellows abroad. These fellowships are intended for men and women of high intellectual and per- IT IS ON VIEW IN THE ANNUAL EXHIBITION OF THE CORCORAN SCHOOL OF ART. sonal qualifications who have already demonstrated unusual capacity for productive scholarships or unusual ar. tistic talent. ‘They will be open to men or women, married or unmarried. No age limits are prescribed, but it is expected that ordinarily the recipients will not be younger than 25 nor older than 35. ‘The stipend in these in stances will not exceed 0 for u vear of 12 months. Applications for fellowships must be made in writing on or before January 1, 1926, accord- ing to forms prescribed and vbtainable trom Henry Allen Moe, secretary of the foundation. Pershing Square Buflding, New York Cit ok k% Art Institute of Chicago re- ts ‘that 95 per cent of the Federal Bureau hoys” who have been studying art and have graduated from the “Art Institute’s School are em ploved and doing well. The Veterans' Bureau will cease to function ffter June 30, 19 There are mow 18 Federal boys in this school, six of whom will graduate June 19. Among the graduates from the school one is now teacher in a State university, one is with the art department of the Chicago Tribune, one with the Her | ald-lExaminer, one with the Journal, one with the Chicago Post, one with the Milwaukee Journal, and others are scattered s far West as Portland, Ore., as far East as Columbus. Ohio. East_ of the Ohlo the Federal Bureau in New York takes care of the sol- dier-artists. Several of the bovs in the Art Institute School are in close competition for the numerous scholar- ships offered to ambitious students. R ] T is interesting to know that a war monument in Rome Is to be erect ed to commemorate the 60 or 70 Amer- ican soldiers who died in Italy during the World War. The nature and lo- cation of the monument have not yet been determined Along with this news from Rome comes the announcement that a tablet is to be placed in front of the studio in the Eternal City where Saint-Gau- dens worked from 1871 to 1874. This is « fine tribute to one of our greatest American sculptors. R HE Summer schools of art will soon be opening, and almost without exception the artists’ city studios will soon be closed. Quite a number of the local artists will join the Provincetown colony. Here for many years Charles W. Hawthorne has conducted the Cape Cod School of Art Others will go to Gloucester, Mass., where Hugh H. Breckenridge has a school and Felicie Waldo How- eli a Summer painting class. There are others who will have studios at Ogunquit, associating themselves with Charles H. Woodbury's Summer school, while not a few will be found COMPLETING THE KITCHENER MEMORIAL JOHN TWEED, NOTED ENGLISH OF LORD KITCHENER, 1 SCULPTOR, BESIDE HIS STATUE HIS STUDIO IN LONDON. THE FIG- URE WILL BE A FEATURE OF THE KITCHENER MEMORIAL, WHICH WILL BE ERECTED IN HORSE G/ DON. ARDS PARADE, LON- at Boothbay Harbor, several seasons Henry had Summer classes. The Pennsylvania Academy of Fine Arts has its Summer school at Ches ter Springs. Pa. The Summer school of the Art Students’ League, New York, is at Woodstock, N. Y. There is a Summer school in the Berkshires. Columbla University will glve Sum- mer courses for teachers, as usual The Broadmoor Art Academy at Colo- rado Springs will have a Summer school, and under the direction of the Chappell School of Art of Denver there will be a Summer school in Santa Fe. N. Mex. this year—abund- ant opportunity for art study where now for B. Snell has Copsright by P. & A. Photos JFROM & London correspondent we learn that the most notable painting in the current exhibition of the Royal Academy is the late John Singer Sargent’s lovely portruit of the Marchioness Curzon of Keddleston Wwho before her marriage was Mary Leiter of this city. “It e, said our correspondent. “one of the finest ex amples of the work of this great mas ter.” An American artist, William S. Hor- ton. who long been resident abroad, but who plans to exhibit in New York and Chicago next season, is attracting attention in London at | the present time by an admirable ex- hibition of paintings. BY IDA (Continued from Yesterday's Star.) Trudchen couldn’t be really un- happy, because she felt that for the first time her poor, lonely, little mother was among friends, at peace. On the day of the funeral there came a letter from England. Trud- chen, who had learned English from her mother, could just read it. It was very stiff and clear. It said that of course, since her German relations would have nothing to do with her, it was necessary that Trudchen should come to England. There was money inclosed. And would whoever was looking after Trudchen let her grandfather, Sir Ambrose Hampden, know when and where to expect her. Although it was such a simple mat- ter-of-fact letter, any one could have told that the writer was very bitter and unhappy about something and didn’'t want Trudchen in the lcast The night before Trudchen left for England she and Frau Hildebrandt had a long talk about it all. Trudchen sat very straight and stiff at Frau Hildebrandt's table and looked through her new glasses with dry eyes. Although she was so small and poor looking physically, she had always been top of her class, and she could think things out and understand. And she wanted to understand. Frau Hildebrandt had been servant to Hauptmann von Arnstein-Prutwitz and his young English wife when they had first married. So she knew every- thing. She told Trudchen how happy every one had been. One particular Christmas she could remember. There had been a sort of gathering of the clans. The Arnstein-Prutwitz (auf und zu und von) had come, and the Hampdens had come, and there had been tremendous Jjollifications, with toasting, drinking and joking about “Der Tag.” “Der Tag™ first birthday. came they were all other. At first, the war hadn’t seemed to matter so much. They wrote to one another through a neutral country, and said it was a war of governments and that it shouldn’'t make any dif- was to be Trudchen's But before “Der Tag™ killing one an- ference to individuals. Then the Hampdens' only son was killed— murdered, so far father wrote—and then one by one the Prutwitz family was wiped out, and a great, im- placable bitterness spread like an ulcer. And when the young English wife wrote home, she defended her new countrymen and accused her own people, and when the old Prutwitzes came, she quarreled with them, so that they never came again. She fought every one—poor, exiled, uprooted little woman, breaking her heart, until at last she had no one in the world but Trudchen and her husband. For him, too, there was no joy left. People said he was glad of that final bullet. All_this Frau Hildebrandt told in her own way, mopping up the last drop of her ersatzkaffee with the last fragment of a wiebach. And Trudchen watched her and thought | earnestly, trying to make everything | clear to herself. “But am I asked. “rau Hildebrandt opened her eves wide in horror. “Gott bewahre! What puts such a dreadful thought in that silly head?” *“But T must be—just a littl, Na—Just a little, perhaps.’ nd ‘that'’s why every one hates really English?" she e Ach, Kindchen, it's a bad, queer world. We poor Germans—we've suf. fered. The English couldn’t rest un- til they had ruined us. God knows we are kind and easygoing. But when one is hungry it is difficult to for- give.” “‘Are all the English bad, Frau Hildebrandt?” ¥rau Hildebrandt fidgeted. She was !a truthful woman. It went against her principles to téll lies—even to children. “Well, Gud wade them, Little Fraulein and the Big World o . - coc ool R. WYLIE. Copyright by International Magazine Co vear’s best short | It stories. ! i Kindchen. reasons, He must have had His The French are worse, per- haps. But my mother— “Ah, there now! She was a sweet soul. Tf only she could have been a good German! But she couldn't Blood is blood, my dear. You can't get away from that.” “What does it mean— u Hildebrandt?’ Na. it just mea That's w1 blood being you t it “What am 17" Frau Hildebrandt looked across the table. A vague alarm stirred at the bottom of her good-natured eoul. She sald solemnly and reassuringly: “You are Fraulein auf und zu und von Arnstein-Prutwitz. You must never forget that. You must carry vour head high, Kindche’. You must be vour father's daughter—a real German little girl.” But Trudchen sat very still didn’t ask any more questions. It was of no use. Frau Hildebrandt wouldn't tell her the truth. She would have to find it out for herself. Even now she was beginning to understand. Be- cause of her poor little mother there was a terrible wicked taint in her blood. So that she couldn't live any more in her own country, and her own people could never love her. Perhaps going away was a little like dying. People were sorry. The Frau Backerin Frau came to the station with Hildebrandt and brought three 1. use,” she said, solemnly, “it is a long journey and vou will be hun- sry.’ And she was fidgety and rather cross, as though she were worried about something. Frau Hildebrandt tied a label round Trudchen’s neck with her name and English address, and felt her pockets to see that the purse and the precious passport were all safe. Without the passport, evidently, one came to a bad end. And the guard took his tip and said “Jawohl,” and looked at Trud- chen earnestly, so that he should rec- ognize her. She was so small that she might be easily overlooked. And then Trudchen sat in her corner by the window, and the platform slid away, carrying with it two stout women, one of whom was crying. And Trudchen would have cried, too, if she hadn't been Fraulein auf-und-zu and all the rest of it, because Frau Hildebrandt, in spite of everything, was fond of her. And that was wonderful. But instead she sat stiffly, with her hands, in their little black cotton gloves, fold- ed on her lap, and her mouth com- pressed, and cried inside. Which, as everybody knows, is so much, much worse. The carriage was jammed tight with people. They were all strangers, and vet they were so like everybody else that Trudchen feit she knew them— large, gray-colored people, who hardly spoke, but every now and then sighed and stirred in their places like tired cattle. The train rumbled heavily along. It didn't go very fast. It seemed jaded and reluctant, like everything else. The firclad hills of the Black Forest dwindled till at last their black crests just peered over the horizon, as though they were saying, “‘Good-bye, good-bye, Trudchen,” and were hav- ing a last sad look at her. Then the dusk came and wiped everything out, and presently there was nothing left but a rushing darkness and the streaming torches of the station lights as they fled past. For the train was going fast now. It was desperate. It didn’t care any more, The gray people took out bags of paper and began to eat. Under the dim lamp they looked more than ever as though they were half-dead. Trudchen couldn’t eat—not even a pretzel. There was a hollow place where her heart was—a terrible, drag- ging feeling as though something very important in her inside had been torn out and she was bleeding to death. unce she svbbed aloud, and the stout, She | kindly looking man opposite her look- ed up from his butterbrotchen in as- tonishment. But her eves were dry, and she put up her hand to her mouth |and sald “verzeihung” very solemnly #0 that he should think it had been a hiccough Every now and then the guard came in and took great bites out of her ticket. And each time he nodded to her and said “Na, wie geht's And Trudchen thank you.” He was a little, fair, bustling fellow with snappy, blue eyes, and Trudchen thought how angry he would look if he knew the truth. It was terrible to think how every one would shrink away from her. She felt like a small black lie sitting there among all these sad. friendly people. The stout man leaned forward. Some- thing in his expression told her that { the hiccough had been no good. “Are you going a long way, | fraulein? =y ' “It must be very lonely?" “Yes.” “‘Haven't you any people”” She shook her head. If only he wouldn’t ask any more questions! Lvery one was looking at her so kind- ly. They saw that she was in mourn- ing. Poor, forlorn little girl! The stout man leaned across and took the label and read aloud: “Fraulein auf und zo und von Prut- witz-Arnstein, bel Sir Ambrose Hamp- said: “'Quite well, little den, Stanten Court, Ayrsdale, Che- shire, Holland—Dover.” "He looked up at her. smiling, puzzled. “All that way, Madel?” “Yes.” “To England? They were all listening now._ They had even stopped eating, with their butterbrotchen halfway to their mouths, and in a minute that queer, withdrawn look would come into their faces. It was a terrible thing to be very small and belong to a family of heroes who were never afraid. “Yes.” ‘“Have you people there?” And then suddenly, before she knew what she was doing, she had said in a high, squeaky voice, “My mother was English.” “Ah—I see.” The stout man nodded and sat back. Every one went on eating. Trudchen knew just what they felt. It was like that in class when some one had done or said something wrong. One was ashamed for them in one's very bones. Of course, it was just chance that a few minutes later, when they slid into a big station, every one should begin to gather up their possessions. They lumbered out into the dark, one after another. They didn’t look at Trudchen —except the stout man, who turned back and patted her on the shoulder. “Poor little fraulein,” he said. Of course—just chance. And yet it was as though they were getting up and leaving her because they couldn’t bear it. Without them the carriage grew cold and filled with shadows. The whole train seemed to have died, and the guard's voice com- ing down the corridor had a terrifying, hollow sound. *Passports—get ready, please. He peered in. She was so small— 80 blotted out in her corner—that he had to look twice before he saw her. “I get off here. It's the French frontier. Good luck, Fraulein.” “Danke,” she said. ‘Danke shon.” He couldn’t help laughing. She was such a prim, composed little thing. The door slammed, The train jerked forward, throwing out a long, melan- choly whistle into the darkness. In a moment they would have passed over the mysterious line. Fraulein von Arnstein-Prutwitz scrambled down form her seat. She flung herself against the closed door. All the brave ancesters were forgotten. She fought with the stif handls that wouldn't yield. (Continued iu Tomuirow s S@r) your passports Reviews of the New Books Interesting Light Is Shed Upon Lord Morley—Marquand Story of Adventure—Natalia Sumner Lincoln Produces Another Thriller Laid in Washington—Glimpses at New York. Pelley Writes a Comedy. BY IDA GILBERT MYERS. JOHN VISCOUNT MORLEY: An Ap- preciation d Some Reminis- cences. By John H. Morgan. Boston: Houghton Mifflin Com- pany. The last will and testament of Lord Morley declared positively against any authorized biographic treatment of his lfe. Yet, clearly, here is a man who ought to be known generally because of the high degree of intellectual self training to which he attained and out of which he achieved so notably in the important_fields of both letters and politics. In such a dilemma—on the one hand restraint, on the other a plaln urge toward disclosure— Morgan meets the issue by rejectin, formal blography while still holding fast to its essence and real substance The common blographic routine where the time sequence is in full control gives way here to a study of Lor Morley's productive and _significant years alone, when in Parliament he de. voted his powers to ngland's im perial well-being, or when in the cabi- net he faced himeelf, reluctantly but definitely, upon the World War, or when again in seclusion he projected the “Life” of Cobden, or Burke, or Gladstone. In these varied lines of activity it 18 the reasoning facully of the man that stands paramount It is the habit of nationalized thought that is conspicuous, holding itsel rigorously to the logic upon which be liefs and opinions and actions are based. This is the quality of mind for which Lord Morley s chiefly notable, that by way of which he gives example and inducement to the gen- erally unthinking human. Individual and independent thought upon any subject, no matter how simple, is the rare exception. Man the world over is a pure copyist, passing from lip to lip streams of words that have no mental stir behind them. But here s a thinking man. In this role he con- stantly runs counter to tradition and worn-out beliefs and snap-shot judg- ments, it is true. But he thinks and this 18 his true contribution to the growth of other minds, to the enrich- ment of thought generally. These reminiscences are of an intl- mate and informal nature, the out come of a long friendship between Lord Morley and Gen. Morgan, the record of years of kindly assoclation. Both candid and appreciative, they give a carefully measured view of the | ) character of Lord Morley as this re-| cts upon life both public and private “Mill was his intellectual godfather Gen. Morgan talking—"'but Lord Mor- ley was more than a disciple of Mill, more than an intellectual athlete.” Where the one was pure logiclan and political economist the other was this, and more, since his thought was warmed and vitalized by imagination To the average reader the surpassing qualities of Lord Morley come out in his letters rather than in his political service. Character provides the basis of his biographies of Burke and Cob den and Gladstone. Each “Life” is a drama wherein the first scene pos sesses the quality of predestination the seed of all that is to follow. And upon this basis of dramatic intent the author builds—Cobden the great agra rian opponent and agitator, Burke the mighty disputant, and Gladstone fight ing both himself and the world in his advance upon the vision that held him in bond. Great dramas of char- acter, these, and great expositions of human behavior under certain combi- nations of blood and circumstance The e: of a most interesting personality this, at the hands of a wise and discrimi- nating author. DRAG: A COMEDY. By William Dud- ley Pelley, author of “The Fog," etc. Boston: Little, Brown & Co. This is vour story, you millions of men, any one of whom might slip into the shoes of David Haskell, its chief figure, and walk off into his affairs under the delusion of still be- ing on your own door-sill, under vour | shipful genuflections while, own roof-tree. Mr. Pelley calls this a comedy. It is about as comic as “Lear” or “Tess” or another of the same kidney as these two. He means it is assumed, that if one talks plainly and a bit blithely about murder or rape or arson or assault or feiony and on through the whole list of crimes and calamities—then that is comedy, no matter how deadly the tragic busi- ness may be To get back to “Drag.” is a living picture of a small Ver- mont town. It is likewise a living picture of thousands of other small towns—the back-drop merely shifted a bit to picture the scenery of Ken- tucky or California or Iowa or any other one of the remaining 45. Im this Vermont village Mr. Pelley de- fines in an exceeding particularity the kind of “‘drag’’ that is equally in- digenous to all of the other villages of the entire country. It is the family drag—that curlous parasitic impulse that from every possible direction and under every sort of excuse settles whole familles, direct and collateral, upon some one member of the family itself. An old story. A promising young man marries a pretty girl— and the trouble begins. There is really no need of drawing the lines of this story. You know the whole of it already. However, if you want to grasp the whole of it at a single view, set out in its actuality, without either padding or trimming, why, then. read “Drag.” The next move will be to see what you can do about it. Nothing at all. except to grin and bear it. A national story without doubt. A picture of calamity, drawn in a_manner of surpassing point and impfcation. THE BLACK CARGO. By J. P. Mar. quand, author of “Four of a Kind,"” etc. New York: Charles Scribner’s Sons. The clipper-ship days of New Eng- land back this romance wherein the black men of Africa provide cargoes for the thrifty and usually God-fear- ing shipowners of Cap Cod and its neighborhood. With such backing, the romantic perfod of the clipper ship, Mr. Marquand can hardly help creating adventure, since this is the spirit of the time. And he does cre- ate this in good measure and in good consistency as well. However, the real adventure here is of more porten- tous aspect than that which any ship on any sea can produce. Kor it is the adventure of a man's soul upon which both God and the devil appear to have equal lien. Tt is the sinister figure of Eliphalet Greer, man of sin and all manner of wickedness, that arrests one as he hears Greer whimp- ering to God and going through wor- at the very moment, he is tightening his grip upon some one toward whom he is directing his agencies of revenge. A black story—black not merely from the skin of its living cargo, but black with the color of Eliphalet Greer's soul. A steady-going story, headed from the first chapter upon the last chapter where the doom of Greer falls. Yet along the way, running beside this thread of fate, there is many a ecolorful adventure that im- pinges upon the other side of the world and then runs back to the grim Its setting and natural setting forth | New England coast where the master hand of Greer is preparing other moves in his project of retaliation If you are interested in seeing a man in the grip of the devil that possesses him, then you sit right down here beside Greer for a full Eliphalet Library Recent accessions at the Public Li brary and lists of recommended read ing will appear in this column each Sunday Drama. Adams. J. Q.. ed. Chief Pre-Shake- spearean Dramas. YD-9Ad16 Barrie, Sir J. M. Mary Rose. YD-B274m Bennett. Arnold, and Knoblock, 1d ward. London Life. YD-B436lo. Brown. Alice Charles Lamb. YD-B813ch Case, C. B.. comp. District School Dialogues. Y D-C263d Crawford, J. R. Robin of Sherwood 1912.° YD-CB58r Davidson, John. A Queen’s Romance. 1804." YD-D283q De Mille, A. B. ed. Three English Comedies. YD-9D35. Forbis. J. F he an Shakespearean Elizabethan Enign nd nlu. YD-STyf hy. John. Old Eng 1370. Galsworthy, John. Representative Plays. YD-G137r. rstenberg, Alice. Four Plays for Four Women. YD-G3: Goodman, J. E. Chains. YD-Gi Herbert P. Double Demon. YD -H417 Hobbs, Mabel, and Miles, Helen. Six Bible Pla YD-9H652s. Jones, H. A. Representative Plays. 4 v, YD-J714. Kaufman, G and Connelly, M. C. Beggar on Horseback. YD-K165b. Kaufman, Paul. Outline Guide to Shakespeare. YD-STlka Koch, F. H., ed. Carol “olk Plays; Second Series. YD-9KS13a Lonsdale. Frederick. Aren't We AllL YD-L86. Macken: A. M. The Women In Shakespeare’s Plays Matthews, Brander, and eds. Chief Brit tists, xcluding Shakespeare. ¥ D-9M435c D. One-Act Plays One-Act for Stage and Study YD-9 Oni3. Phillpotts, Eden. and Hasti The Angel In the Ho YD-P545. Shakespeare, William. Forty-Minute Plays from Shakespeare. YD Slba Shakespeare, William. Julius Caesar, 1923. YD-S51g. Shakespeare, Willlam. King Henry the Fourth, Part 2. YD-S3H4dhu Shay, Frank, ed. Twenty-Five Short | Plays. International. Y D-3Sh23ts. | Sturgis, G. F. Little Plays for All| Occasions. YD-Sta71. Thomas, A. E.. and Hamilton, C. M. | The Better Understanding. YD. T364b. Vollmer. Lulu. Sun Up. YD-V88ss. Yeats, W. B. Plays in Prose and Verse. YD-Y328. Poetry. Alken, C. P. Turns and Movies. 1916. YP-Al43t. Binyon, Laurence, comp. The Golden Treasury of Modern Lyrics. YP- 9B516g Brink, R. W. Down the River. 1922 YP-B176d. Brown, E. E. Victorr. 1923. YP- BS144v. Browning, Robert. The Last Ride To gether. 1905. YP-BS2la Browning, Robert. Poems and Plays. 1922, YP-B82a0. Browning, Robert. Saul. 1901. YP- Ba2s Burgess, W. S. The Eternal Laughter. 1903. 912e. Burgoyne, T. E. Chimes of the Times. 1921 YP-Bf13c. Carter, Jot Hard Labor. 1911 YP-C 5 Chapman, Arthur. Out Where the West Begins. YP-C3650. Coleord, J. ¢ 1 and Go. YP-| 9C6731 Crane, N. C. R. The Janitor's Bo YP-C8533 Crosse, Gordon ed Every Alan's Book of Sacred Verse. YP-9C856e Davies, M. C. The Skyline Trail YP.D284s Eichorn, L. D. The Moonseed's Min- istry. YP-Ei24m Ficke, A. D. Sonnets of a Portrait Painter. 1922. YP-444so. Gray, R. P., ed. Songs and Ballads of the Maine Lumberjacks. YP- 5G799s. Gwynn, Stephen. Collected Poems. YP.Go9 Jeffers, J. R. Tamar. YP-J358t Kipling, Rudyard. The Recessional The Vampir d Other Poems. 1910. YP-K Mansfield, Katherine. Poems. YP M318 Morley, C. D.. comp. The Bowling Green. YP-9M82ib Morris, Joseph, and Adams, St. Clair, eds. The Book of Friendship Verse. YP-9M834bf. Morris, Joseph, and Adams, St. Clair, omps. The Book of Mother Verse. YP-9M834bm Mulock, D. M. Thirty Years. YP- M916. Our Girls; Poems in Praise of the American Girl. 1907. YP-30u7. Pope. Alexander. The Rape of the Lock and Other Poems. 1906. YP-P814ra Reese, L. W. Wild Cherry. 1023. YP-R25Tw. Rice, C. Y. A Pilgrim's Scrip. YP. R362p. Rittenhouse, J. B., ed. The Little Book of Modern British Verse. YP-9R517b. Sherwin, Jullus. Songs of a Glow- Worm. YP-Sh7. Sisson, H. G. Poems of Progress. YP- Si88. Spaulding, S. T. and F. T., comps. Open Gates. YP-3Sp2so. Spingarn, J. E. Poems. YP-Sp46. Tennyson, A. T.. 1st Baren. Poem: ed. by J. F. A. Pyre. YP-T25aad. The Week-End Book. YP-9W4I13. Wilkinson, Mrs. M. O. B. The Great Dream. 1923. YP-W6G5g. Wordsworth, Willlam. Selected Poems. YP-W89aa. Wordsworth, William. Selected Poems; ; ed. by H. J. Hall. YP-WsSaal The World's Best Poetry. 10 vols. 1904, YP-9WS05. W, al. ‘Wit and Humor. Bennett, C. A. A. At a Venture. YW- Yea B. Later Poems. YP- B436. Burgess, Gelett. The Rubaiyat of Omar Cayenne. 1904. YW-B913r. Case, C. B. The Big Joke Book. New ed. YW-C263a. French, J. L.. ed. Amerlcan Humor. YW-9F886s. Herold, Don. So Human. YW-H436s. Rogers, Will. The Illiterate Digest. Sixty Years of YW-R6331. ard, Artemus. pseud. Selected Works. YW-W2la. Ward. Christopher. Twisted Tales YW-W2ldtw. Ma- | measure of experience along this line And when the grim and excellently constructed story comes to an end, get into the sunlight and dry and air vourself out of the mood that the story imposes. Good work. That's why its effect is so unescapable. THE SHADOW CAPTAIN. By Em lie Bengon Knipe and Arthur Knipe, authors of Lucky Sixpence,” etc. Dodd, Mead & Co. 1f ghosts be permitted to draw sat istaction from the durability of th fame on earth, then the spirit of Capt. Willilam Kidd must have had many a complacent hour over the fact of outlasting a host of better men in the remembrance of postert: It is now two and a quarter centurles since the notorious buccaneer was convicted of piracy and hung for murder. Yet today adventure gathers around him in 2 freshness that denies the intervening vears and sets one off, hotfoot, in pursuit of the leg endary treasure so long assoclated with the name of Kidd. Here a new romance of the old theme re-creates as the background of actlon colontal New York at the opening of the eigh' eenth century. Within this setting the hiding place of the treasure shifts and wavers like a will-o'-the wisp. Around these points of fure adventurers of high and low degree gather, all equally versatile and adept in the ways of crime. An romance marches with the treasure hunt, for Mistress Kidd herself lende sharp rivalry to the chase by herselt becoming an object of pursuit. And is it true that, after all, another mar was hung on Tyburn Hill in place of Kidd, that he was secretly set free and is here playing a part in the me going on around him? Or f« this merely a novelist's device t keep interest on edge? It reads like truth at any rate, for this is not a loose-jointed makeshift of inventior crudely gathered up out of odds and ends of old incident. On the con tra from {its setting of time a place on through a line of action com porting with the period in its modes of behavior now looked upon as ur terly lawless this is a compact and | consistent drama of striking effect at whose center moves dimly the flgu of that fascinating old pirate Capt William Kidd. & ;s SiCRY MIRRORS OF NEW YORK. By Ben jamin de C: eres, author of “The Shadow-eater,” etc. New York | Joseph Lawren | WITH his looking glass in hand Benfamin de Casseres makes © little sallies into the streets of New York. With a Dean Swift smile on his face he turns the mirror this way and that, picking out folly and foibie and fantastic futili These reflec tions he turns into words for the sake of getting them into print and passing them on. It is the character of these words strung together in | shining loops and glittering ropes that causes one to stop and look and |listen. They are sounding words That's why you listen. They are s with strange faces. That's hy you look. They are put to odd uses. That's why you ponder them. Sometimes you know what the young man is talking about. Sometimes vou don't. But all the time you are englamoured with this street show, so vou follow at the heels of this street | entertainer as he talks of complexes | and psychologies and psycho-analyses |all applied to some part of tha anatomy or the mind or to the sou! of the big town. After a little he loses something of his bumptious be ginning—merely a gesture to catch the crowd, one assumes—and then he is delightful. With him you hunt for “lost corners” and drift into “favorite corners.” But in a moment he is off again, this time on soms old “lost booze trail” or other relic of happier days. Yes, you go along even then, for no knowing at what moment this smiling philosopher— grimly smiling philosopher—wi strike another vein of rich wordine: und not inconsiderable thought. Ar odd man, the author of four books with a baker's dozen in preparatior A circumstance that pretty well in dicates the author—don't you think? THE MISSING INITIAL. By lie Sumner Lincoln, author of “The Trevor Case,” etc. New York: D. Appleton & Co. Another Washington murder sets Miss Lincoln again to the rounding up of her customary bountiful supply of possible murderers. The deed migh! have been done by one of the staff of the British embassy, or by a lel ured man of the town and the fas! ionable clubs, or by & Russian o fascinating front and no visible means of support. or by a Spanish tutor, or v a beautiful lady—or by any one of half a dozen others whose looks and behaviors carried unmistakable tinges of guilt. once attention was called to them. The murdered man had a host of enemies, and his taking off was no great grief to any one and certainl: a relief to many. But the ways of justice might be pursued, ang so there is here the greatest to-do, all interest ing. with each move making little headway other than to tie the puzzle into an even tighter knot than had held it before. This is Miss Lincoln's method. this deepening of the mys tery by pointing suspicion in 40 different ways at once. Then at the last the matter smooths out along the simplest poseible lines of motive and subsequent crime and means of con cealment. And one of the group steps out as the clear criminal. The clue here, the missing initial, serves well enough to entangle innocent peo. ple at first, but finally to play its sub- stantial part in the final moment of detection. This competent novelist does more than to ferret out crime For instance, here she carries for ward two perfectly good romances that come to their legitimate climax within the turmoil of the mystery matter. The Washington atmosphere is here in so clear a registration that one is promising himself a circuit of the districts wherein this exciting niatter took plage, just to get the feel of the strange things that happened in this particular house or that one. IF DREAMS COME TRUE. By Alice Ross Colver, author of “The Dear Pretender.” Illustrated by Frances Kratz. Philadelphia: The Penn Publishing Co. The romance of an idealist, this Of the man—young, of course—who wishes with all his heart to make cer- tain dreams of certain people come true. The wherewithal provided, the | story moves forward by way of the efforts of this man to realize his vision of happiness for others. Sounds Eutoplan, quixotic and all the rest of it. Yet, slowly and surely, the minds of men are turning slightly toward such consummations here and there. Bo, the story Is not altogether improbable even as an {dsalist's plan. As a romance, in the common accept- ance of that word, it is a fresh and engaging thing in the midst of a scourge of novels on soclal problems and wsex starvations and eriminal tendencies and thelr like,