Evening Star Newspaper, August 2, 1925, Page 72

THE SU DAY S Rambler Discloses' Proceedings - Of WellKnown D.C. Luncheon Club Organization Is Ranked Among These Which Regulate the World and Aid in the Performance of Duties by All Public Characters. N addressing you two Sundays| ago, telling you of the intimate | rel>tons batween himself and the | Prince of Wales, the Rambler let | drep the fact that though invi-! tations to dinner at the White House | and the great embassies rain upon | him, he nearly always sits down to lunch at the Plate of Stew two min- utes after the 12 o'clock whistle blows. | Mention of the Plate of Stew was not heedlessly made. It was for the | purpose of piquing public curlosity i aisine a furore of inquiries which | would peni® Tie Rambler to say something like this: “In response to many urgent requests and in obedi- ence to insistent demands from the public of Washington, the Rambler must devote this story to the Plate of Stew.” ! The public demand has not reached | him yet. Nobody seems to have read | the story. A literary man suffers | many disappointments. He draws | from depths of his wondrous mind a | thought that is bound to turn the rip- | ples of the Potomac into leaping flames, halt Earth in fts orbit and | rock the Monument. He puts that| thought in the paper. He walts flrl’] the citizenry of Washington to surge | down to Eleventh and the Avenue to | shake hand. He waits. Every- body goes to office, lunch and home as though naught unusual had hap- pened 7 ““sught that T might truly say “In response 1. < *housand telephone calls on The Star anent the Plate of Stew, the Rambler feeis in duty bound (an anclent phrase) to loosen | up and write upon this subject.” But the Rambler will write about it, any-| how. There are reasons why he had not time last week to o to houses in | which George Washington slept and which stand beside the road on which | Hraddock marched. His note-bag is empty, the time is here to write a| ramble and he'll write one, because | he knows you could not go to your devotions with grace of spirit today without having read the Rambler The Plate of Stew ix the assembly | hall of u civic association to which | the Rambler belongs. He belleves that it is an important organization, and that in uplifting humanity and reg- ulating the world, it yields neither the paim nor the bacon to other asso-| ciations. 1 The purposes of our association, as set forth in our constitution, are:| “The objects of this association are | to regenerate the human race, make | the United States fit to live in, guide | the President in the conduct of his| office, ald Congress with our coun- sel, review the decisions of the Su- preme Court, keep the newspapers in the path of chastity and rectitude, and act in an advisory capacity to the District Commissioners."” The purposes of our association are ot so broad and far-reaching as those | of the assoctation you belong to, still, we do our best There is no politics in our assocl-| ation. Such a thing is contrary to| our constitution and the genius of our | by-laws, but I have never been keen | enough as a politiclan to get elected to any office. Signal honors have been | done me. T have had conferred on me | the Ham Bone degree, which is a| most impressive service. 1 have been i7.emsted with the robes and feathers | of High-Cockalorum, but in this or- Zanization where there is no politics | I have not been able to buy cigars enough to be elected even Noble Bearer of the Soup Bowl and have not been able to laugh loud enough at | old gags to be called a good-fellow. o x 7THE name of our organization is the Every Noon Lunch Club. | Though we are a harmonious body of serious men bent on leading our fel- | low-men to the loftiest state of civic | consclousness we have some of those misunderstandings which riffle the calm of more celebrated associations. One of these disagreements was onea name for our meeting-place. I can- not tell you this in as clear a way as it {s shown in the minutes of yes terday’s meeting, which follow “President Noodle in the Chair: He sald: <entlemen of this progressive assoclatcc, ere is pending a mo- tion in which an element of this club— T will not say the most intelligent ele- ment of this club—has expressed dis- satisfaction with the name of our eating-place. “When the question of a cholce of & name came under consideration of a committee of our leading members— all prominent citizens of this metrop. olis—our poet-laureate, Mr. Sop, was instructed to prepare a name which would be soothing and dignified and which would be more exclusive than such names as ‘Golden Orchid Tea Room,” ‘Rose and Iris Cafeteria,’ ‘Crystal Goblet' and the like. Mr. Sop threw into this matter all his poetic talent and submitted as a graceful and delicate name for our | meeting place ‘The Plate of Stew.' | “Several of our members, lacking | in appreciation of art and fine poetic | utterance, objected to this name on the ground that it was too sentimen | 1al Without consulting your hon-| orable president, they directed an-| other gifted poet of our society to in-| spire a more dramatic and sympa-| thetic name. That gifted son of our | ation is Mr. Homer Byron Bard. honored member has written poems for the press. He has | got 'em back. Which provies they were good. In the interest | of this club he has subjected himself | to severe literary strain and offers us a substitute for the name ‘The Plate of Stew.’ He proposes that our meet- ing-place shall hereafter be known as | ‘The Bowl of Mush.' If any gentle- | man desires to speak on this subject | for more than one hour, the chair will be glad— “Mr. Bunk (rising)—Mr. {'hairn\an’l In the public activities of this great | assoclation we have never come to| the consideration of a more fmportant | public question than this. The great | body of earnest, inteiligent and liberty- | loving people of this city wait upon | our decision. This club has adopted | resolutions to aid the Commissioners | in their deliberation on public mat. | ters. It has given advice to Congress | which has guided it in its consider- ation of momentous questions. It has made recommendations to the Presi. | dent of transcendent value in direct- ! ing the destinies of this Nation. It has reviewed the decisions of the Su- preme Court and strengthened with its counsel the justices of that august tribunal. No question of greater im- portance, of more far-reaching con-| sequences, has come before the peo- ple of this country than now con- fronts us in the choice of a fitting name for our meetingplace. That question— “Mr. Teezle (rising)—Mr. Chairman: | If the Honorable Mr. Bunk is given half an hour more he will tell us that if George Washington had got our | resolutions in time the American | Revolution would have been settled | sooner. The question before this club 18 not what it has done to make this the greatest city in the world, but what i% i* going to do with this ques- tion of TI® Plate of Stew vs. the Bowl of Mush. (Applause.) “Mr. Snozzie (rising)—Mr. Chairman: I stand for harmoney in our deliber. ) ations. There is propriety and sym- pathetic understanding of the needs of our people in both titles. The Plate of Stew and the Bowl of Mush. To my way of thinking the Plate of Stew 1s a meatier dame with more many THE OLD 3059 TO BELVOIR. substance in it, but the Bowl of Mush is a softer title and more descriptive | of_our discussions. “The Chair—The question is on the title of our place of meeting. Those in favor of the Plate of Stew will rise. Those in favor of the Bowl of Mush will rise. The vote is a tie, and the question being settled, the chair will announce the committees of this ‘lub for the ensuing year: “Committee on Law Enforcement— Mr. Staggers, Mr. Jagg, Mr. Boozle, ‘Official Humorists—Messrs. Wagg, Kidder, Snickers and Teezle—Mr. Josh Teezle “The chair wishes to say that while some of our most honored members | are not included in these committee lists, it is the purpose of the chair to create a committee for them Their duties will be light mittee will not have anything to do. “Mr. Smuggs (rising)—Mr. Chalr- | Mr. Rickey, Mr. Haig and Mr. Gordon. | man: The 12:30 whistle is blowing and LOCUST TREE AT DUVALL HOUSE, NEAR KE.\;SISGTO‘\:_ “Committee on Efficiency—Mr. Fud~!l move ye sir that this club do now dle, Mr. ramble Committee on Annual Banquet— Mr. Vittles, Mr. Grub, Mr. Guzlet, Mr. on and Mr. Frye. Committee on Social Functions— Messrs. King, Duke, Prince and Lord. “Committes on Publicity—Messrs Quilling, Stubbs and Scratchings. “Club Quartet—Mr. Bellows, Mr. Mellows, Mr. Yellit and the young man who sings tenor. name is Pansy. l f He whose first | terday Muddle, Mr. Jumble and Mr. |adjourn until— “The Chair: bers are gone. * o ox x 'HE Rambler has told you of the sweet * concord which holds its happy sway in our organization, but he can instruct you better by ex- ample than by exhortation. There- fore he hands you his report of the club's proceedings of day-before-yes- It follows: “The Chair—The unfinished busi- Mr. Smuggs, the mem. The com- | | ness' ot the previous sessjon 1s a reso- lution: ‘Resolved, That it is the ob. ject of this club to make the United | States a strong and respectable Na- | tion,” and “Mr. Foozle | Chatrman— | *“The Chair—The | Brushwood Park “Mr. Foozle—With deference to the chairman, he is mistaken. It seems | impossible for this important and re- spected organizing of representative citizens to elect as gentleman who s (Applause.) “The Chair—I trust the gentleman intends no criticism of the presiding officer? “Mr. Foozle—Quite the contrary, sir. My purpose is to- flatter him. “Mr. Snooze—Mr. Chairman, on other occasions it has been necessary to interrupt the solemn and_ deliber- ate proceedings of this splendid asso- ciation of citizens by calling for an ambulance. The directors of Emer- gency Hospital in a letter of con- gratulation to this cub say that they appreciate the favors conferred and the patronage given their institution by this association yvet they feel that ergency Hospital cannot be con- sidered strictly an auxiliary of this club, and as the present kindly col- loquy threatens to- “Mr. Tipple—I call upon the par- liamentarian of this club for a ruling as to whether the member from Brush- wood Park violates the properties, and the fact, in characterizing our honored presiding officer as a fat- head. “Mr. Tangle, the parliamentarian— Mr. Chairman, I quote from the 182nd by-law of this assoctation: ‘It shall be unlawful for a member, during the sessions of the club, to apply epi- thets of opprobrium in disparagement of the presiding officer, Provided, how- | ever, that the terms bone-head, simp, | flat-head and fat-head are exempted | from the provisions of this article | when in the estimation and opinion | of a member the presiding officer i | (rising abruptly)}—Mr. member f{rom not a fat-head. such.’ (Applause) This bylaw was cdopted at a duly-called meeting of ¢his club, held April 1 Schmittelhausson's | and— Mr. Pimple, rising “The Chair—The Springwell Terrace. | “Mr. Pimple—I move that the re- marks of the parliamentarian regard- | ing the place of adoption of the by- |law be stricken from the record on the ground that it {s unconstitutional |and may be obnoxious to xome per- | sons somewhere in the United States I move you, sir, that for historical accuracy, the phrase be expunged and | the clause ‘Fritz Schmittel hausson’s beer saloon’ be amended so that it shali read ‘the Purple Myrtle Tea Room". It wa: beer saloon, member from 80 ordered. PARIS, July 16. RE men going to give up horses Just because they have auto- mobiles? And can automobiles do all the work of horses? A regular organized cam- A paign has just been begun in France to persuade people to say ‘‘no!” A committee for the rational utilizing of horses has united all*the associations which the matter concerns in an effort to persuade people that horses are still good for something besides racing. M. Breton, who has charge of big public services, makes an appeal straight to the pockets of Parisians. He says that the substitution of au- tomobiles for horses. which has al- ready been made costs every inhabi- tant of Paris 300 francs a year. This is $15 in present money exchange—a large extra tax, to be sure. The rea- son is that automoblles are run by pétroleum products, which are high priced because they have to be im- ported, principally from America. Horses, on the contrary, eat hay, which grows in France and is cheaper. Of course, such an argument holds good only when horses can do as much_work as automobiles without an expensive loss of time. M. Darly, who is the president of the Team Horse Socfety, owned up that for long-distance work horses cannot do what automobiles do easily. But, he- says, take a Paris delivery wagon whose route is round about the city and suburbs, say 20 miles a day, it can use horses and it will cost only half as much as an automobile. In fact, to make the automobile more profitable than horse delivery, the auto would have to finish up with a route two and a half times as long. This is why the big grocery shops of Paris continue to serve their custom- ers by horse delivery, although they use automobiles for other hauling and business. - At the markets, horses have another advantage over motors. Space is lim- ited and confined, and the best chauf- feur cannot back ingo his place and maneuver in the crowd as do horses, which are used to it and use z?r Jjudgment quite as much as their driver's. Still, for cities, every one acknowl- edges ' that automobiles will hence- forth do most of the work. The police even wish to put horses off the streets altogether, where they obstruct auto- mobile traffic. It is very different in the country at large. Horses and cattle have al- ‘ways been among the chief riches of a farming country like France. The TAR, WASHINGTOM presiding officer a | 1884, in Fritz| D. C, AUGUST 2, BY STERLING HEILIG. PARIS, July 23. HE greatest painters of Europe are going to exhibit their newest pictures in America this vear. This year, more than any | other, the Carnegie international ex hibition will show. in American cities, & salon of the world's art—Paris and London being, truly, local in com- parison. For the first time, also, the great annual picture show will be seen in its totality outside of Pittsburgh. Homer Saint-Gaudens, director of the Department of Fine Arts of Carnegle Institute, has completed his tour of Europe, selecting paintings for its twenty-fourth international exhibition —which will be showp at Pittsburgh, and then In the Philadelphia Art Club, the Grand Central Gallery of New York, and the City Art Museum of St. Louls. In_conjunction with M. Guillaume Lerolle, foreign representative of _the Carnegle Art Department, Mr. Saint- Gaudens has just given me the ad- vance facts. 4 It is not only that tie show goes intact, for the first time, to other cities outside of Pittsburgh. It is the first time, also, that it goes to the Grand Central Galleries, in New York. It is the first time thmt there are German and Austrian sectioris since the war. These are important. 1t is the first time that a member of the international jury of awards has been chosen from outside of France or England. The foreign members of this jury are now Ernest Laurent, well known impressionist painter of France; Algernon Talmage, “representing the very best elements in English landscape’ (I quote Saint- Gaudens), and Anglada, “who ranks “in Spain as high as anybody as a tremendously brilliant impressionist and realist.”™ They come to America for the | awarding of honors and the Carnegle | money prizes, which, with the great annual buying by Carnegle and others, draw the greatest painters of Europe to the world salon in Amerlca. % x % HE most general real interest in { art today lies in England, says | Satnt-Gaudens. “English art is not important official- ly. like French. There are not nearly as many artists or shows; but their exhibitions, whether academic, like the Royal Academy, or advanced (from an English point of view), like the new English Art Club or the Chonil Gal- leries, are full of people. | ““Englishmen go to their art shows in droves, and, for Europe, they actual- | Iy buy an astonishingly large number of paintings. _ Therefore, English artists, to gratify the demands of a real public, are making great advances in craftsmanship, imagination and a desire to gratify the decorative in- stincts of their age. “Leaders of all the English schools are exhibiting with Carnegie: (1) The academic school, of which Sir William Orpon (tremendcusly fmportant in po: | traiture, the most important thing th English’ do) and Ambrose MacEvoy are represertatives. (2) The academic landscape school, with men like Ansby Brown and Sir David Cameron. (3) | The tremendousiy strong school of | academic painters doing decorative | allegorical canvases, unique in Eng- |land. Colin Gill, Glyn Philpot and | Frank Brangwyn are good examples. “In England, next, there is (4) a mildly advanced school, naturally headed by Augustus John in portrait- | ure and Mark Gertler in decorative | pleces. Finally, there is (5) the ad- | vanced group, with Paul Nash and Ethel Walker as examples.” | “France still stands unique. | “France has the tremendous back- ground of her past and the fact that | in-Paris, more than in any other city, there are artists, exhibitions and deal- ers. Paris is still, unquestionably, | the mecca of the youth of art, num- bering them by tens of thousands, and that is true! “A large portion of French art fis still squarely radical,” says Saint-Gau Idpns, “although there is a distinct tendency toward a more conservative | aspect | “Of the academic men, one thinks. of course, of Bosnard, head of the Ecole | des Beaux-Arts, member of the In- | stitute, etc.; of Rene Menard, with his decorative canvases, and of La Sida- ner. Ina group which is rather newer without being called advanced will be seen, Ferain, S8ignac and Marquet. Will Motors Drive Out ‘Horses Now in France? peasant may buy automobiles for his and to haul back and forth loads, although there are | few firms in France more than 10 | miles distant from the railway. But his horses’ work is cheap for him and be breeds them for sale—which also brings good money into France. At present France has 2,759,000 horses. Nearly a hundred years ago France had 2,800,000—for it has al- ways been a horse-growing country. It is not the automobile which has 1kept the number of horses from in- creasing. The year before the war there were 3,220,000 horses registered in all France, which had not then the two provinces of Alsace and Lorraine. What has become of them? War used up, without replacing them, 30 per cent of the French horses which it found in the country. Sincé the war the farmers have re- paired the losses for 17 per cent of the pre-war number’and, in last year's number, Alsace and Lorraine counted 110,000 horses. Many of these are high-bred draught horses, for which there is a consider- able demand out of France. Until a few years before the war we used to see, every season, buyers of Perch- eron horses for the United States. Horses of the Boulogne and Ardennes districts were also in demand. This trade has for some reason dwindled to almost nothing. But Canada still demands Percheron horses from France. Argentina buys Norman and mixed English and Arab horses bred in France. Japan takes half-breeds. And Switzerland which, just after the war, bought in one year only 8, year before last bought 8,000 and 3,700 last year. It is easy to see from this that France {s not likely to give up her horses and horse racing just because her people are making and buying 80 many automobiles. Prof. De. chambre, who knows as much about French farming as any other man, estimates the real everyday value of her horses to France at four and a half billion francs. This is now, in exchange, $225,000,000, and practical- ly it represents much zreater value to the French. The mere exportation of horses to foreign countries was de- clared to government last year as $3,200,000—but .these export figures, as they are not checked off by cus- toms receipts, are always far below the reality. In any case, it is an in- crease of 53 per cent over any figure of French horses sold abroad in any year since the war. So the value ‘of horses to France is increasing with the number. " 1925-~PART 5. Europe’s Most Famous Painters ill Exhibit in America This Year Salon of the World’s Among those known as leaders of new | | art come Matisse, Bennard and Marie Laurencin | k% ! ¢(QUTSIDE of France and England, the countries that required the | most serious attention were Spain, Italy and Sweden,” dens. “Best known in America frm‘.l; ain, is Zuloaga. Side by side with |him in his own country is the pres ent - of the Carnegie jury of | s Sainl-(}.;u—i “With these come many other seri- | ous and fine Spanish painters, like| |the two Zubiaurre brothers, extreme- | Iy interesting figure painters; Mir, the brilliant colorist and landscape paint- er, and Businol, the landscape paint-| er of Barcelona. | | “Advanced art is scarcely practiced {at all in Spain. Unquestionably the {leader of it is Solana, who will be |seen in his tremendously introspective { paintings of Spanish religious sub-| | Jects. | “Italy, in |has two ai | demic and the |demic camp. tradistinction to Spain, | inct schools—the aca| advanced. In the ac: as you wouid expect come Mancini, of high. old reputat {in portraiture, and Tito, very | decorator and port painter {ing the younger come Carona of Rome and of Milan. | | Netther would be classed as radical in |other lands: but they represent the | younger school of Italian paintinz. | |One most in view is Romagnoli, the | young painter of Bologna, who last year won second prize at Carnegie| {against all the famous painters of the world. | “In Sweden the old school will be| represented by men like Bruno Lilfe- | fors, well known for his landscapes and scenes of wild life of the woods, and Wilhelmson, portrait and land- scape painter. The younger gener: tion sends men like Leander Eng- strom, with his landscape and dec- orative subjects, and kjold, whose tiny little pictures show everyday life seen through modernist glasses. “For the other lands, among out- standing men come Carte, the young decorative painter of Belgium; Svabin- ski, the elderly decorative painter of Czechoslovakia; Benes, the young Czechoslovakian landscape painter | who won honorable mention at Car- negie last year; Boznanska, the elusive Polish portgaitist, and Krausz, Aus- trian portrait painter of moderately advanced style.” ne Lead- | en, | fine 0ld man in Germany, [tr Art to Be Presented. Which brings us to the new art country, Germany. %% * ok "THIS vear, at the Carnegie Inter- national, Germany exhibits again, for the first time since the war. She sends an important section, full of change and novelty “We went to see Liebermann, their " says Saint- Gaudens. HOMER SAINT-GAUDENS, DIREC- TOR OF FINE ARTS OF CAR- EGIE INSTITUTE. nation who was with going on in his co replied, bashful, b strong for it: ‘Wel something.’ Liebern what was nd this other se he was not ey are seeking ul n spoke up: ‘It h important in but finding! And w ver you too hard to seek, you do not find!" h another German, Prof. Dr. Schlichting, said another thing which perfectly true. erman art,” he id, ‘has alwa been a reflection of German politics —meaning German life. ““Art is a reflection of society, con- “CASTILIAN SHEPHERD,” A PA!NTING BY THE SPANIARD, I1G- NACIO ZULOAGA. “He asked a man of another | .| the ordinary syptem of rating, bu Germany and Austria Participate in Carnegie Exhibition for First Time Since War. tinues Saint-Gaudens. ** ‘In the Hohen- zollern days,” says Dr. Schlichting, ‘they wanted war pictures; so that German painter, to be successful, had to paint war subjects. Today, since the revolution, they want radical art The only official art is radical, so that your Germans are forced to paint radi cal pictures. “ ‘Radical pictures break through the normal growth of art and jump away ahead of it—whence, they are called advanced. So, today,’ says the Herr Doctor, ‘a German artist must paint advanced pictures to live!” “Now, there are extremely few mod. ern pictures sold in Germany today, goes on Saint-Gaudens. “So, the Ger man painter, who is bitterly poor, in a nation that has been out of the world’s general life for 10 years, has lost what we think is the main idea in a plcture—which is to decorate a space. “Instead, the German artist, in his picture, seeks to express his revoit against the state of soclety as it is at present. Now, that is a literary func tion, and not a painting function. It is like trying to paint an essay—in genious, intellectual, remarkable, but hardly the thing, at bottom. In his seeking, he recalis Liebermann’s ‘not finding. “It is & misfire; but it s very large and strong in Germany at present They are trying to paint essays on the terrific state of soclety The trouble is that you can read an essay once or twice (or if it be Macaulay’s four or five times); but, pretty soo you have finished with it. Whereas, you hang a picture on the wall with the idea of looking at it 365 days in year for the rest of your life; but you will not read an essay 10 times * ox % % MERICANS will see this remark able German development at the American world salon German art will have its chance, it exists. Such, in fact, is Saint-Gau dens’ leading idea in exhibiting. “The leaders of academic art Germany—Liebermaan, | ner—are exhibiting with us,” he says’ ““So, too, the elder!; but mildly ad vanced school, led by Corinth. All the |rest are the ‘modernized and official painters, led by Kokosohka, Kirchner, Hofer. It is Germany's art. Carnegie pre sents it, as found. Ought Carnegie se lect what Carnegie likes best—and call that German art? | “We went to see Dr. {of the Dresden | says Saint-Gaudens. “He sald: ‘For ou international show next year we want an American section. Do you named Maurice Stern? Stern i{s an important | man in his group,’ I answered. ‘What |do you want—to present a general idea of American art today, in all its leading aspects, or do you want | American art as shown by people of the same point of view as Maurice Stern?" | “‘Well,' says he, ‘Maurice Stern |strikes us as being very important in America. We want a group of | American " paintings a la Maurice Now, what he was doing, what so many exhibitions do, is to make up their minds beforehand what is go ing to be good art in another country which they have not seen. Then they g0, to that country and select pic- tures in the direction which they themselves had settled on. They bring them back. They study them care- fully and judge them as good or bad art. And they say that art in that country is good or bad—according to that selection “There is a fallacy there < Saint-Gaudens. “Old Henry Adams said that art is holding a mirror up to {mankind. in which mankind sees | reflection | ““Now, in Slevogt, Hub Posse, he: tional Galle d he reflection of a German |in a German mirror is different from American or Engli They are lart. But in organizing a big it is not right for e co |France and say Redfield, Bellows Howthorne, Rockwell Kent—these are art in my country. So I must find what is their art to thes tries today and bring America. x x4y “IF a country like England thinks or Paul Nash of Colin Gill are pro ducing beautiful pictures (all different from anything we have, except Orpen) then that is what we must take. “If you go to Germany and find Liebermann, Corinth and Slevogt, or Kokoschka, Kirschner, etc., regarded |by Germans as presenting the most important German sentiments of art you have nothing to do but take them along as German art! “Then,” sums up Saint-Gaudens “you will have in the halls of your exhibition a true reflection of the artistic situation in the various coun tries. “It means seeking out the lines of important sentiment in each countr and taking the painters who lead them, without injecting your personal taste {nto it—bounded a little by what would shock your own country. As papers say ‘all the news that's fit to print,’ so we say ‘all the pictures that are fit to hang!" Be eclectic! “But how is our public to find it way in such an exhibition? Let then choose for themselves. Do mnot try to teach art to the public verbally My notion is to say: ‘Look! Here is what Italy is doing. Tito—old. Ca rona—new. Choose for yourself.' “You cannot learn to walk except by using your legs. You cannot get art except with your eyes. Your own eyes! If we can show the American public what other publics and groups of publics think about art—show them! show them! don't tell them!- we shall soon have a public that wil have its own opinion. It will not be opinion foisted on it by art critics! = Electric Transmission. ERFECTION of an electric trans mission that if{s sponsors asserts will d8 away with the shifting leve on gasoline driven automobiles and eliminate flywheels, clutch, generator starter and other parts now so essen tlal to car operation, was announced The device is the invention of E. M Frazer of Yonkers, Y. Through the new unit the automo. bile would become an electrically driven car, the gasoline engine simply being used to oporate the big generator unit supplying the electricity to the motor driv At any speed the motor can be sud denly thrown Into reverse, making an effective brake for ordinary use ns well as emergencies, the backers of the device assert. Woria's L;rgest/ Bailer. TI{E largest steam boiler in the world is being installed in Pitts burgh, Pa., by a heating company ‘There are six miles of four-inch stee! tubing in the heating and condensing apparatus. ‘with a heating surface of about three-fourths of an acre. The boiler is rated at 3,000-horsepower by is capable of operating continuousi; gt three times this capacity and gor short periods at four times this rate When at full load it evaporates 200 tons of water per hour, that Augustus John and Orpen ’ ’ -