Evening Star Newspaper, October 18, 1925, Page 52

NOTES OF ART AND ARTISTS Centennial Exhibition of National Academy of Design Is Proba- bly the Most Important Ever Held in Washington—Painters, Sculptors and Engravers Are Represented BY LI n ot hich tion at o Art last comprises ove for art in Ame [ Eustus Saint ¢ John Flana he p play, and no wonder represent they of the mo! artists during but t have utn the have been | seums and ¢ Many th exhibition com itan Muse from t th National it > Carneg musel o this s| A lenders are su York as and th > innum m " J. H imposing exh who, rebelli tism of the up in oppo: Academy of How strangely fashioned the seemn today, chang these rash | withal, how e minded. really were their 1d It does one good to be privileged thus to t The; earl) n back t were n Academi one passes ints of some of painters are m D on through series almost shown are by men and women of our own day and ortion of the showing brings strong- y to mind the hibitions ainting set fc orcoran Gallery of Art The place of entrance to w gite the staircase, has been given to one of Abbott his beautiful lent for this o Museum of Fi before erent_admirati Wigslow Home ing, pressive car To the right scape by whose tragic 1 On the same wall is to be seen “The Donkey Ride,” picture by J. famous Forge, “The owned by the Here, portrait of Lin Ranger's_most “Spring Woods 1yn Museum Turning to th is caught by F brated landsc Wind. with through reproduction, little beyond care by a special committee of cker. how timid, measured by pre ent-day boldness of c which a Zight Bells,' Ralph A. Blakelock, too, are Douglas Volk's ideal 4l EILA MECHLIN. tennial exhibition of the Academy of Desig with a recep. 1 Gallery of d will_be until No- paintin [ ) a tragic figure bes op the eve to the public May” and Gi Morning, Montclair “A Duet,” whimsical lovely ls assemblage of great wo by Frederick and the late Max e Inn "aty s elty. It nd stands he past 100 | v 300 exhibits miral rica during PRI . more largely vep- | JHE keynote in he scuiptors, archi ¥ Joln Singer but the | Of Miss Wertheimer, ent Gontie, one of his ments, now happi ownership in this country kreat pictures of the exh posite hangs one of Irvi most successtul paintings, central position at the | BrOWR,” of a young we 100, is Thomas 1n stafrway, a_position | { To the right and | full-length fige are to be seen | v and ther and co- Lother can scu To | nt from Amor C: on | coran stand Imir- | in bror 4 suudens by his confrere arg cted to paint sight which | v on enter- | nt Gau- low relfef, has been of Georss: ind Child hat owned ure by tangib) urt is akin lery dominated fece, we fin ) dis, | Story-telling 1 Fddo (ashe ol of over 400 | ¢ distinguished American | the past hundred vears, | been s with the | ¢ ‘or instance by Sarge homias in sche The La ral draw occupy | galleries thi ke a supe for not o pictu and entitled the 1 ew He small E rge H. cal painting, the Testy,"” ich s, owned by Art In the end | tong vista York original Roug . Academy of Design,and | e by the leading urt mu- in the country shown in this | m the great Metro- m of Art. in New York: he Boston Museum of e Worcester Museum sie Institute, Pittsburgh. | 19 Cincinnati, Cleve: | Garl M and Chicago have all | 160 DY ( narle ¢ with- | & | reckoned b his confr the achlevemer = but duly honor An mong the other notal ch well known clubs in the Centu the Union | e Lotus; to say nothing | ) collectors, “harles M o-sized it be the . terr re k¥ | been shown | Dutch subject and To one_side Oliver | the other | Californta,” { that Far hingf hi a Sumn, No wonder it is an | ition. * 'l‘lr some exte collec aintin and % ree Hil * e, “Lone H. Davis. Here an interfor, the arles ent the arrangement of stion has been made ning in galie the painters | d a hundred | The semi-cir- | -1y given up irly Academ- be remembered, nst the conserva- an Academy,” sition thg tional the Arts Design.” conservative and old- works of these men how quickly times nonagenarian Caryl Coleman exquisite port and Philip L. } painted interior, “Sunlit F ver Clouds, Arizona,” b; Groll, one of his best a hangs beside a well 1 hoolhouse Hil Arthur J. E. us an attractive Parl and John prets delightfully tion.” Folinsbe: B. C “The eem the eflorts of nnovators. And_ vet, vidently sincere, high- beautiful, apparently, eals and inspirations. is terminated in Gallery Howland Blashfield ing made for th demia, a woman standing betwee: umns on an open portico looks New York. In holds a palm, in the othe bridle, but a spur, he page ot a large band, these | clans, and_even before o gallery B the works | tions of the academy. At our living American | palette and brushes, malle et with. From gallery | Behind her the remainder of the |but a monumental clou all of the paintings |like aspiration, the open heights unknown. Mr. generation, and this president of the National Design, but the painter of of the rotunda of the Lib gress and of other disting panels in our public buildl out the United States. admirable blennlal ex- temporary American orth habitually by the honor in gallery C, the hich is directly oppo- one of the best portraits bition perhaps of our modestly placed, in galle an impressive picture e Afterglow Henry B, by the Bu Men's Clu nati, and a colorful Autum *‘Neath Clouded Skies, ter, lent by the Academy. Thayer's masterpieces, Caritas,” owned and | ccasion by the B superh w, W in re To the left hangs er's well known paint- a small but im- s—Homer at his best is an admirable land- with imiltar. on e it ity ure HE central space in been given to a painting John W. Alexander, dent of the National Design. This painting is * a most_charming child Alden Weir, and also painting by John La Muse of Painting, Metropolitan Museurn. by the Boston Museum o a masterly work. There traits in_this son of Chicago and by Hi tenberg of New York. charming little pictures, tive in effect, by Maxfield Parr coln and one of Henry beautiful landscapes, s lent by the Brook- he right, one’s attention | fomer D. Martin's cele- ape, “Harp of the which almost all, are familiar. A Jlihu Vedder's There thorne and a Spring land Bolton Jones. Here one this is Here are Tryon's * “AL oran ngs in th 50 is a Olive Wine Press, Capri, ndered “Corner in one looms not only Buffalo one-time Academy figure painting by Charles W. g, “The Lost wutitully r ening in “rosty Dewin, ess’ Dic rk Ba Bohm's pe | trait of his wife held their own ud- | typical picture, sallery B s struck | ent’s portrait itled “A V Mibition ng R 1kins' soli man, de " widely by the ¢ master Hovenden's the style of t Moments | Mil- life in Inn," nion Leagu re of rendition of smembered Gallery of ninatir > pal g the nting by infcant As a Gari posi me: This . Melcher: among h best, has never, however, heretofor ton. It S best s >urple Ritschel g of be. "by Charles alnting academician, Harry W rait of {al Room ¥ Albert chievements, land- by John I *owell shows Central stigan _inter- Sun's Refle The long vista through the F by allegorica occasion, * a beautiful, stately figu, n’classic col. which ove hand r not only a signifying the func her feet are | *t and chisel. the city. d, climbin, heavens to | it | will be remembered, is not only the Blashfield, Academy of f the ceiling ary of Con- iished mural ngs through- His portrait, admirably painted, by Ernes L. Ipse of the exh day, han D, between ntitled “An Snell, lent ib of Cincin n I by Ben Fos Fine Arts this gallery, the so-called place of honor, has the late pres: o Isabella and by the Pot of Basil” and has been lent f Fine Ans, are fine por- ilery by Ralph Clark- enry R. Rit- There are t very decol Jules Guerin and b is a_splendid Haw- pe by H. inds also a MRS. JAMES B. DRINKER AND SON. A PAINTING BY CECILIA BEAUX, IN THE CENTENNIAL EXHIBITI - | vivid, modern presentation: v | Woo still life decoration by Frank W. Ben- son. one which has already received | hih commendation when shown in | one of the Corcoran Gallery's bien- | ninls. There is un Indian picture by Irving Couse, and hanging near it a portrait of an old Spanish woman, strongly painted, by Leopold Seyffert; ring comparison with these is a little by J. C wn. of a | boot - old-fashioned and sup- | posediy out of dat But this galle particularly | notable for its vivid landscupe paint- | Ings—Chauncey Ryder's Tount Lafayette,” Roy Brown's “Kittredge Ire” Rungius' “Alaskan Wilder- . which has the additional inter- of wild I Willilam Wendt's Days of Sunshine” and Leonard Ochtman’s “Morning in Summer." Returning to gallery in which hangs Mr. Blashfield’s beautiful figure, we find a splendid assemblage of works | by, the most virile of our cotemporary | painters: a double portrait of a mother and child y «l with an outdoor set by Cecilia ux; a charming | { portrait of a lady a4 with urban uavity. by Lout : Robert Reid's ‘]‘lt\‘HLll figure study. “A Bunch of | R and the late Howard Gardner ‘\'\‘A;hmg s sympathetic portrait of his | | wite. To the right and left of the Blash- | field painting hang Winter pictures, one by Hobart Nichols, formerly this city, the other by Gardner | Symons, both strong works possessing great charm. Here, tov, are a small landscape, by William J. Lathrop; a | marine, by Paul Dougherty: a beauti- ful hgure painting of chiliren on a bench out of doo by R. Sloan Bredin, and broadly but well painted landscape, “The Old Mill," by W. Granville-Smith Daniel Garber is represented by a typical work, “U lossa.” Walter Clark g American landscape, Curran one of his typical 1d mountain pictures, in which es play So apt a part. In the little Gallery G able marine, “The Restless Pa- ,". by Howard Russell Butler of | ston; a dramatic, classical land- scape, modern in spirit, “The Land of the Hunter,” by John C. Johansen, near which hangs on of W. El- mer Schofield’s landscapes, “Winter | i | | there is an HE SUNDAY STAR, WASHINGTON, D. C., OCTOBER 18, 1925 IN CENTENNIAL EXHIBITION N, N. A. THE PAINTING IS ( ‘llllilTlll\' AT THE CORCORAN ONTAIN ALLI D IN THE CENTENNIAL SRY OF ART. P. Thompson is “Girl in Black™; Paul King Gold and Blue”” B. West Cl never did a better picture Windy Day in August.” well represented by is nd a fanciful composition, ndscape, | o “ACADEMIA” BY E. H. BLASHFIELD. IN THE EXHIBITION AT THE CORCORAN GALLERY OF ART. Beal admirably repres ‘59 lightly, but exquisitely rendered, “The | Slopes” of Parnassus,” by Arthur The central position, that h terminates the vista through series of galleries, is given to| Carlsen’s painting entitled “O Ye of Little Falth,” and on the wall to the right one notes an excellent | still life by this distinguished paint- | er’s accomplished son, Dines Carlsen. To the right and left of Emil Carl sen’s painting (one of the few reli- glous puintings in the exhibition, by the way). hang landscapes by Charles Melville Dewel and Bruce Crane, both fine works. * ok ok x HE centers in Gallery I are given! to “The Hurrying River,” by tobert H. Nisbet, lent by the Telfair Academy of Savannah (which, inci- entally, is flanked by Walter Ufer's ‘Autumn” and Ernést L. Blumen schein’s “Trail Through the Canyor both typical works of the Taos to Everett Warner's painting )klyn Bridge” and to “‘Club and picture of a wrestling match by George Bellows, one of his best known canvases. To the right and left of the last hang a dramatic and impressive marine, “The Breaker Line,” by Waugh, and a picture en- 'Spring Rains,” by Victor Hig- On this same wall are unusual portraits by Sidney N. Dickinson of his mother and father, and by Leon Kroll of Mrs. Kroll. There are other excellent portraits in this gallery by Joseph Boston, A. Brewster Sewell and Willam T. Smedley; besides a really lovely nude, ““Leah,” by Robert Vonnoh. 4 Commonly placement in the gal- Yeries is considered more desirable than in the atrium, but some of the best paintings in this exhibition are found therein. For instance, & por- trait by Lydia Field Emmet of Mrs. Milbank, painted with charming ret- icence and uncommon skill, and Lil- lian Genth's forceful and striking pres- entation of a Spanish woman, “Sig- nora df Casetas.” Here Is an exceed- ingly colorful and attractive land. scape by the late Frederick Crownin | shield, and a superb still life paint- ing of Anna Fisher. Here, too, we find Henry Salem Hubbell's fascinat- | ing picture of a baby and Edward { Volkert's colorful “Pasture by the {Sea.”” James R. Hopkins' “Windy Morning” is a far cry from his familiar pictures of the mountaineers of Kentucky and Tennessee, but very enlivening and cleverly done; and, as always Wayman Adams’ portrait, “An I Artist,” is engageing. Potthast is at his best In “At the Summit.” Leslie “Rockport Harbor,” as, by the way, is his brother Gifford Beal, by *“After- glow.” which hangs in Gallery D. T 'HE south wall of the atrium is en- tirely glven over to etchings, en- gravings, lithographs and mezzotints by academicians; the north wall to architectural works. The former in- cludes examples of the works of such well known men as Durand, Smillie, George Cole, Blum, Benson, Platt, Woodbury, Bellows, Childe Hassam and Joseph Pennell; the latter to such distinguished figures in the field architecture as Henry Bacon, Robert Peabody, Donn Barber, Frank Miles Day, Bertram G. Goodhue, Cass Gil- bert, John Russell Pope, John M. Car- rere, Charles F. McKim, and, going back a hundred years, Ithiel Town. There is also a case of miniatures, including works by Sully, Morse and Inman, among the earliest, and, repre- senting this later day, Laura Coombs Hills and William J. Baer. Returning for a moment to those galleries. which contain the works by early academicians, note should be made that the 100-year period only by courtesy and a little stretching takes In that galaxy of great portrait painters headed by Gilbert Stuart, but does include those who immediately followed them and on whose shoulders in many instances their cloak fell, such, for instance, as John Neagle, Chester Harding, Samuel Waldo, Charles Elllot, Thomas Sully and Dan- fel Huntington. It is true that the committee of arrangements was for- tunate enough to secure as a loan from a private collector for this exhibi- tion a notable fulllength portrait of ‘Washington by Gilbert Stuart, and also an example of the work of Rem- brandt Peale, but for the most part those painters who organized and es- tablished the National Academy of Design_ had little tradition behind them, were pathfinders—those who strove to create here in our new coun- try a native art. Pathetic as may now seem some of thelr efforts, the strength and sincerity of their work under conditions is remarkable, and perhaps the most interesting portion of this whole spendid exhibition is that section which represents this courageous ploneering in the fleld of American art. ‘When this exhibition closes in Wash. ington it will be shown for a like period in New York. That it should have been shown here first is an honor to oug Capital Cify, of | Recent and | ing will appe: Sunday. accessions Angelus Serv pany. Architectural Angelus Di tecture. WIM-And Arnot Art Gal Catalogue ¢ WCS51-Ar6 Ballard, J. Rugs. Bell, Geo ginners. Birch, Una. 1923, Boston, Ma Museum of Fine Catalogue of Paintings. Ref. WCS44B-Gic. Cameron, J. R. Pocket R ok for Projectionists an agers. 1919. WRN-C143p. T. G. Old Spode. ¢ Oriental Be- Arts, nee Man- WK H. ulpture. ldon. A WI57 *. The Handbe i Crocheted 4. 191 and Post, C. W Amateu WR-C695. ags and Purses. WUA-CSITh Crochet. 3 A-C817¢ Crochet 1920, in v. 20, | Corticelli Book N Corticelli Le Crochet. 7 C817K. Documentary lation for Filet 11 ons v Swe: WUA-CS17f Knitting 1919, Wl History of the Legis- the Creation of the Na- tional Capital Park Commissio 1922-1924. Ref. +WES59W-D65. Dresslar, ¥F. B. American School Buildings. WHJ-DS Everard, John. FPhotog Papers. Furst, H. F hs for the ative Art ef. Wio- Garside, v. 1. WW-G198. Giafferri, P. L. de. lish Furniturey istoire du Cos. de L'an Pletro Perugino. . W10-P437g Gowing, F. H. Building Plans for Colonial ~ Dwellings, ~ Bungalows, Cottages. WIM-G748. Henderson, B. L. K. Morland Ibbetson. 1923. W10-M326h. Herts, B. R. The Art and Business of Interior Decoration. 192 and Sir C. J. The National Gal- Italian Schools. . W35P- Jackson, J. American Colonial Architecture. WF$3.J13 C. 8. ed. The Amer 9 WIM-K244. Keith Corporation, M tiful Home: Laurenc an House, eapolis. Beau- WIM-K264. . Color in Architecture. the Earth 922. WRK- f. A. B. Javanese Batik Design: WUT-L588). Lubschez, Ben Jehudah. Printing. WRRE-L36p. Macquoid, Percy. Four Hundred Years of Children’s Costume from the Great Master. 1923. WV-M24f. Maginigle, H. V. B. The Nature, Prac- tice and History of Art. Manners, Lady V. A. E. D. and Wil lamson, G. C. John Zoffany, R. A. 1920. Ref. W10-Z76m. Marriott, Charles. Modern English Architecture. WF45-M347m. Matasek, R. J. Drawing for Zinc Etching. WQM-M41. McKay, H. C. Motion Picture Photog- raphy for the Amateur. WRN- M193m. WKR- Moore, Mrs. M78. Neuhaus, Eugen. The Appreciation of Art. W-1N39. Neurdenburg, Elisabeth. Pottery and Tiles. WEKT-N39. Palmer, Frederick. Technique of the Photoplay. WRN-P183. Pearson, R. M. How to See Modern Pictures. W-F317h. Percival, Maclver. The Chintz Book. WUT-P4lc. Photographic Failures. WR-P565. Photography as a Scientific Imple- ment. WRK-P55. Plowman, G. T. Manual of Etching. WQT-P728m. Reilly, C. H. McKim, White. WF83-R274. Reitlinger, H. S. Old Master Draw- ings. 1923. Ref. WN-R277T. Roberts, E. H. How to Know Laces. ‘WUL-R547. Royal Institute of British Architects, London. Sir Christopher Wren. 1923. Ref. W10-W926r. Rutter, F. V. P. Wilson and Faring- ton. 1923. W10-W696r. John Singer Sargent, J. Pousette-Dart. Projection N. H. 0ld Glass. Old Dutch 1923. Ref. Mead and , 8. C. K. Crome. 1923. ish' Artists) W10-C882s. Smith, C. W. ' Linoleum Block Print- ing. WQE-Smb. Speed, Harold. _The Science and Prac- tice of Oil Painting. WP-Spdds. (Brit- * - Thoregen, Maren, and others. Tha THE PUBLIC LIBRARY| | With, | friena, | This | and | | its direct simplicity —PART 2 REVIEWS OF AUTUMN BOOKS Hilaire Belloc Brings Out a New History of England, Which Is an Authentic Record of Period From Julius Caesar to Close of Last Century—Some Ideas From Writers of Fiction. IDA GILBERT MYERS. A HISTORY OF ENGLAND. Hilaire Belloe, author « Antoinette,” etc. New York: Putnam's Sons. ROM an entirely new point of departure Hilaire Belloc pro jects a history of England that, excluding the long perio of legend and myth, covers the history of authentic record stretching from ‘the invasion of Julius ¢ to the close of the last century Mr. Belloc's sustaini contentior throughout this work ix that religior is the determining force of society that it s rel jon, not race, whick has shaped the succes civiliz tions of rde y Upon thi« fon present pagan E wing a sketeh of the country fled study of the first contacts with civilization through the invasion of Rome in the person of Jultus Caesnr. The account reads like somethin, Wive—inv conquest, the process of pacific and ultimate absorption—not at like dead-andgone events. One fol lows the ord of an England t governed from Rome, as our colonies once were governed from F Then, in the fourth century comes an end to the old p and the advent of a Cath of the Dark Ages, a period of vicissitude-—Prita cut off from the rest of the world, then bro ht back again, with uncertain efforts reach- ing toward unity, with the Danish invasion, with the influence of Al fred. with the end of the Dark Ages a period ending with 1066 and Wil liam the Conqueror. Another volume describe: Catholie F land of the Middle Ages, an England that in_es sence was of French culture, its lan guage French until the urgencies of the Bluck Death blended the in a comme¢ Ic of which the F slish la Beyond this point lies ment in En; fusal of An less than legitin o gands of Hern VI A recalcitrant Pope, refusing divorce and the English Reformatior its despoliation of the mo and kindred reprisals is on, ment_that n il the the Dutch Ki 1688, ed in making a Pro f this By Marie i out of - emerged. Reforma- and rising ite queen ant co religious andpoint | hor sustains with fervor with much in the way ither ence, with a clear ingenuity of method, with religious bent of his own which ever, Iy in falr h of agreement or d this study however, 1 disagreement you vou will without ad it in an ubsorption of int t most never felt in the usual tre of historic themes HENRY CABOT LODGE. By Wil liam Lawrence. Boston: Houghton Mifflin Co. THIS biographical sketch of Cabot L by s the » of Massach was given ori; ally the invitation of Massachusetts, a p ervice in honor of sketch of Mr. allied to him by one of the same D Lirth and outlook, b s own out of these cir has add by virtue of and by a “much in little” that makes the book easily available and insures for it an extend- ed distribution. A very straightfor ward summary of events influencing the life of Henry Cubot Lodge and an equally fair-minded estimate of character are the outstanding fea tures of this little book. The author s subject in the light birth and early tri and then again in the midst of momentous national events with m of which his name is so closely nected. One of the important a Juminating parts of the sketc Bishop Lawrence's analysis of cer acts and attitudes of Senator Lodge on the basis. now of his temperament and disposition and again on the ba- sis of his rigid adherence to principle and conviction. Through this famil- jar and intimate treatment many stands taken by Mr. Lodge in his pub- lic life become here simply a part of the warp and woof of the man him- self, not induced by extraneous and alien influences. A most readable account that gives nearness and real- ity to a figure whose position in the national life tended to make remote and unfamilia A man of great serv- jce and high character is presented here for the easy approach of his countrymen. MAD MARRIAGE. By George Gibbs, author of ““The Love of Monsieur, etc. New York: D. Appleton & Co. OU recall Mark Sabre in “If Win- ter Comes,” and that astonishing act of his for which the majority con- demned him as every kind of fool, while just rarely some one reflected aloud that about 2,000 years ago there lived a1 man who would have done just what this Mark Sabre did. Men and women of behaviors like this are called idealists, for want of a politer name than fool. George Gibbs pre- sents Peter Randle, painter. another one %f this little tribe, dreaming of a beautiful world in which kindness is the key to every sort of happines: —the tribe of idealists. And the read- er, about three-quarters sordid, like the rest of the material world, and only one-quarter, or less, conscious of the real beauty of life—this reader many times in his reading here feels like Joining the crowd in condemna- tion ‘of some of the acts of these teckless wool-gatherers. For instance, there was Peter Randle, living on his island and paint- ing pictures that were every day get- ting better and better, with a good brand of American fame right ahead ot him. Then what must he do but take a girl into his bachelor house simply because he found her crying on the bank of the canal one rainy night, and in a carefully prepared effect of sudden harm to herself. Then warming up under Peter's good shelter she told her story—desertion, a baby on the way. Married? Oh, no, but trouble all the worse on that account. Henry elong as an address a the Legislature the men one ship, land It value con Py Priscilla_Hardanger Book, No. WUA-T393h. Tilney, F. C. What Pictorialism Is. ‘WRL-T46. Ulmann, Bernard Company, Inc. Bear Brand and Bucilla Blue Book Man- ual of Yarnkraft. WUA-UI56b. United States Public Building Commis- sion. Report, June, 1822-Jan., 1924. WHD-Un30. Wall, E. J. Photographic Facts and Formulas. WR-W156p. Whistler, J. A. M. James McNeill Whistler, comp. by Nathaniel Pou- sette-Dart. W10-W578al. Williams-Ellis, Clough and A. ‘The Pleasures of Architecture. WF- WeT6p. Winslow, L. L. Organization and Teaching of Art, JWB-WI13lo, people | niry | tment | § of | €| This cl ! | dolfo This is the moment when the reader ills Peter a plain fool, for it is casy ) sce that he is a lamb being led to ghter. And so the story goes, tting more and more chival- sus under the gossip of the town un ¢ “mad marriage” is the re of kindness and is another story his mixture 2 There 1 with this on a much belate whole 15 proj here of the here that is hinution nd in ihe kmudged only of u woman against the ulnerability of one man's (HE MISTY ATS. Helen Woodbury. Boston: Little, Brown & Co "[HiE immemorial exaltation of moth 1o the deepest and purest of emotions has long served, and still server, 10 conceal the fact thit many a mother surpasses in selfishness the easily accepted traditional Ingratitude of children toward thelr parents. An observing and courageous writer here projects a situation whose foundation is maternal tyrunny fmposed in the na of mother-dove—a tyranny whose source s personal vanity coupled with a jealous hatred of the growing claims of her young daughter upon life. If Helen Woodbury, in this her | first novel, had taken the other of the two roads of development offered by the theme in hand, she would have produced a melod matic tale of ab- normal implications, the story of some female monster cast by fatal mis. chance in the role of motherhood She, however, did not take this path Rather, did_she choose the way of { plain and p usible happenings in & | small community where life is op lanybody’s bus everybody's ness Here is u setting as convincing in ts reality as the famfliar old home own of ev The story ftself | follows as straight a trai An easily family app here— | father and daughter, Linda Bradley, whose story this is. The basic and fatal flaw in this family c bin tion is that “mother i pretty and 0 sweet!” that “mother must be shield ed—dear mother?” i elf deception | in respect to othi is the subt thread of th story For it > of mind in which many a daug s sacri- es that in any other relation would | be promptly repudiated and set aside That is the reall t feature of this| family record. Understand—Helen | Woodbury does not assume this to be | a usual situation. She merely weaves | which nine out of ten read their personal knowledge e in substance. The first novel is as ex- | theme. The contribu- appears to have been t of the life of a fam and set down in sidents, episodes, interwov body. ifted bodily ¢ and commun book itself—i personalities eed, finally, eating the real substance of Linda Bradley. A novel of original outlook and treatment, a courageous ry. and one of exceptional vividness of effect THE GREAT PANDOLFO. By Wil liam J. Locke, £ author of “The Be- loved Vagabond,” etc. New York: Dodd, Mead & Co. GHE Great Pandolfo” is twin brother to “The Mountebank' and both are in ight line of de- | scent from “The Beloved Vagabond." ar blood tie among the three indicates something of the quality of William J. Locke's new novel. Pan- idn?fn is another of the Locke heroes who clear into manhood have pre- | served the spirit of children—dramatic {as children are so astonishingly and competently dramatic, openly pleased | with themselves and frank in ac. | knowledgsment of their own gifts and Ppowers, swaggering a bit, showing off shamelessty. But altogether delight- 1, these Locke heroes, saving some | of the very best things of life out of the rich and rapidly vanishing store- | house of childhood. The Great Pan- lover, as the ‘Mountebank | was also. Both love ladies of high de- | gree, ladies inaccessible to these bom- | bastic lords of life—that is, so it ap- pears at the beginning, and so the ladies themselves declare right to the end of m tempestuous wooings. But lovely ladies are no different, at heart, from readers, from any one coming into the company of a Locke hero. So, the ladies from natural re- serves resist only up to a point long past the ready capitulation of the reader, who succumbs in about three pages of “The Great Pandolfo,” as she in earlier years gave in so easily to “The Beloved Vagabond THE RED LAMP. By Mary Roberts Rinehart, author of “The Amazing Interlude,” etc. New York: George H. Doran Co. ’1‘0 spin a tale and to invent an enig- ma are two distinct processes, even hostile ones. The purpose of the latter is mystification centered upon a certain point. This purpose is met and sustained by means of many in- tricate detalls bound together in su and not easily discernible ships. The spirit of the enigma is con centration, a steady driving in of the mind upon the central point. The story, on the other hand, must have a sweep of movement, a steady climb. ing of action and interest and sus- pense toward the more or less distant climax of lgoical outcome—of explo- sion, so to speak. One trails the enig- ma with eyes to the ground. One fol- lows the story at quite another angle of observation. Therefore, it comes about that the expert fabricator of puzzles is rarely the inspired story teller. “The Red Lamp" is a case in point. Here is a good mystery, a water-proof invention which, partly through a deft manipulation of the material in hand, and partly through the solid and unrevealing quality of that ma- terial, holds, secure, its content of mystification till that last second of the last moment, so obviously the great goal of the inventor of mystei tales. As an enigma “The Red Lamp' is, above all, a painstaking projection. Within a narrow circle one is driven round and round in search of clues| to monstrous deeds of crime, a series of these. One, his very best spectacles astride his nose, examines with metic- ulous care shreds of this and bits of that, possible clues to the doer of these evil deeds. One is impressed, also, to the spooky atmosphere of the seance in the hope that spiritism, which pla; no small part in still further submerg- ing the mystery, may bring substan- tial matter to the surface. Then, peri- odically, like the good housekeeper, or the good scientist, or the good busi- ness man, this author sums the case at this point or that to gather progressive results. Then off again. A love story of sorts plays shadowy second to the prime business of mystery solving. A good énigma; thorough and competent. |OUR | COR | THE and the Family,” etc Charles Scribner’s Sons. TTHERE appears 0 be no one else quite so ready to make inspired comment upon America as the lishman. What to one of another n tionality might be counted the handicap of ignorance, of unfamill iy, of only such short stay he most vides—this to an 15 1o b to assur Robert Grant's new novel 1 refore fittingly framed on the visit to Amer ica of an English bishop, his err ihat of officlating at the christer £ his granddaughter's duughte hishop's opportunity to study one phase of Amerfcan life 15 of the more intimate sort than that granted to the usual visitor from the othe side. And to this study the autk opens ever flable avenue. i result of the bishop's visit, en in a story of smart New York sums to an indictment of the Amer ican people for the almost constar accompaniment of the 1 mony with the ritual divorce Properly, with a cleric at the head of this matter, the novel is a sermon in effect. In its deve ture of divorce ture whose parts auses of this easy marriage bond, and n of it both on fami upon the natior ous study clusfons and effe observations and kes thor who {5 both much in earnest is uppermost in BOOKS RECEIVED. AN New York Englis| ments pro. bout j Amerlcan | FACTORS 1IN TORY. T Hon. Litf HIS- MIR,, nomics lan Company. FEDERAL REPU Harry Pratt Jud: New York: The pany ONE-THIRD OF A BIL Canadian Toronte - of C a, Ltd THE STATE POLICE and 1 ¢ D.; llan ‘BLI L C Five short Fred Jacob. Comp: —~Organizat By ¥ MONS, 1 roduction anc by Joseph Litt. D, Living New York MODELIN Scudder phs. Brace & Co. R STO BRIDG 1 |'nulu‘ Harcourt, ATCTION E ann , Ps DESIRE. | ted OF Dekobra. French } York Ma n from v Neal V The Ma WOMAN nt Sinclair. Macaulay Co. MARRIED LIFE Shaughnessy Rust and ¢ Harcourt THE VALLEY OF THOU ART. York The MISSING ) S PRE-SCHOOL AGE. Guide to a Chi s Occupation. Ry Minnie Watson Kamm. Boston: Little, Brown & Co. THE BULLET EATER. By Oscar J. Friend, author of “Click of Tri Chicago: A. C. A Mother's rg & ( THE CATTLE BARON. ¥ Amos Bennet, author o Rough Rid Chicago: A. Clurg & ( THE ROAD TO MONTEREY. 1 George W author “Trail's End,” ago: A McCiurg & « THE CLOCK SHOP V' THE Robe M ROBE OF OF FAMOUS By Katherine Dunlap Carter, author of “Boyhood Stories of Famous Men,” etc. lllustrated. New York: The Century Co. WALL-EYED CAESAR'S GHOST and Other Sketches. By Jane Bald win Cotton. Illustrated by Fre eric J. Cotton, M. D. Boston: Mar shall Jones Co. PARIS; Or, The Futura of War. By Capt. B. H. Liddell Hart. New York: E. P. Dutton & Co. PRIAPUS AND THE POOL; Other Poems. By Conrad New York: Boni & Liveright France Protecting Cave Man Homes taken steps to protect the prehistoric art of the cave man from damage by modern vandals, Dr C. E. Resser, geologist of the United States Natlonal Museum, who has just returned from the Dordogne cave reglon of southern France, reports that the government now requires that the caves be locked to prevent unauthorized visits of sightseers who have formerly frequently written or carved their names and initfals on the paintings and drawings made probably 20,000 years ago bY primitive artists as part of religious rit In the principal cave man shrine, con taining colored animal pictures, the low narrow galleries in which the cave artist worked by the dim light of his stone lamp, electric lights have now been installed to avoid the dam- age from the smoking candles Occasionally there comes a story of life, love and adventure in the big forests of the far North that fills the reader with an'indescribable feeling of satisfaction ~ the satisfaction that comes from reading whole- some romance, filled with action~ A story with characters that seem real, and in which sheer manhood triumphs over the murderous villain, with a delectable and thoroughly feminine heroine who 15 af last the reward of the sorely tried hero. Such a story is~ An Bookstores As a story, much less inviting, much less considerable. THE BISHOP'S GRANDDAUGHTER. By Robert Grant, author of “law NORWOOD ORadert Ainkerten