Evening Star Newspaper, March 14, 1926, Page 56

THE The Maurice Sterne Collection of Paintings on View at the Phillips Memorial Gallery—Etchings by John Taylor Arms—Paints at Arts Club. BY LEILA MECHLIN. AURICE STI collec tion of whose recent pain ings is now on exhibition at the Phillips Memorial lery, is undoubte the chief American_exponents of mod- ernism in art. Using this strang new formula which harks back to the beginning of things, he has unques tonably _attained wide reput: Among the devotees of the new his name is spoken with a measure of awe and admiration, and each new Work which he produces is greeted &s an event of interest. He 1s both a sculptor and : nter. An exhibition of his sculpture recently held in New York was more than weil recetved, even by conservative critics, snd among the purchasers was i lead ing American art museum. Without yuestlon he is one whose art s to he reckoned with. Mr. Phillips aff hingtontans, through this present hibition, opportunity to become quainted with Mr. Sterne’s paintings Mr. Phillips, in his introduction t the catalogue, declares that he finds in these paintings “the accent of true that this group of canvases seems to him even finer than the sculpture which lately astounded the New York critics by Phillips further evidences e the acquisition of one of these “Afternoon.” allery’s ‘Afternoon’ is glamorous and b: ing in its sense of anclent mountains and anclent civilizations, and melan. vholy with the mood of the shadowed reamer on the balcony, sculptured ugainst the glowing light on the . It is a picture in which we 1 passionate temperamental thesis of the finest qualities of t one of " |gon fa . | phere. Jthe resul ate inte | sive, but of affec | thought laborious effort, deliber- It is strong, It is impre: nnot avoid a suggestion ation, and 1t conveys to the ful observer an essentially impression, Brea t of t A as “Afterno of haunting grimness, & can- which would seem to have no rea- beinz. Why would a painter surrounded by all the beauty of the j world, choose to perpetuate such grim {ugliness? Perhaps there is some Sub- tle significance which the writer fails |to comprehend; but In neither figure in this picture is there a glint of that nobility of character which uplifts the {low and even the ugly to a high plane. Why perpetnate such a vixion? To be sure, this sm_is subjective, but art is subjective, and the ist is the one who can discover and mani {fest beauty even in ugliness. It an interesting fact that Maurice Sterne’s paintings are without atmos- ke, for instunce, “The | Reapers” in this exhibitlon—peasants {in a grain field. Admitting a certain skill in composition, a rhythm in re- -peated form. what end does this pic- | ture serve? The end of evidencing the | drudgery of labor? All of the figures wesented mere autonsdons. distorted i, to pre i by real- of form is |utely chooses to create and depict de- formity. In Mr. Sterne’s painting of “Still { Life" in this exhibition, a bowl of I fruit, there is some lovely color and <ome admirable brush work. The |fruits in the bowl which are shown {are extremely well and simply painted, vas | on,"” hool, whence he graduated in 1905, entering the class of 1909 at Princeton. At the end of his sophomore year he left college to study architecture at the Mass- | achusetts Institute of Technology, graduating in 1911, and in 1912 re. cefved his master's degree. He had been practicing his profession for ap- proximately five years in New York | when the United States entered the i war, during which he served in the { United States Navy. His training as lan architect is shown in his render- ling of architectural subjects, but it | has served to strengthen his drafts- | manskip and his appreciation of the | beauty of buildings. During his years lin New York as an architectural draftsman end designer he began ex- wing with etching, giving to it nd with increa: the ~sion for which he had been 10 devote his entire time to the art of etching, und since then, it has been truly sald, his career has | been one of constant development and mastery, until now he is in the front rank of cotemporary American etchers. He is one of those American ‘ etchers who are perhaps better known abroad than in tkis country, though ie {5 represented in the permanent collections of the New York Public Library, the Library of Congress, the Brooklyn Museum, the Art Institute { and other public museums = well us {n the British Lawrenceville S ! trained includes 30 «nd a number sent _exhibitio ctchings, 12 aquatints of pen and ink drawings. They are {all of architectural subjects or of | boats, A number are particularly well | known through previous exhibition |here. ¥or instance, “The Gothic Spirit,” “Gaurdlans of the Spire, Amiens” and “The Gargoyle and his Quarry, Notre Dame,” beautiful ren- und West, archaic and modern art. |but the brown of the background is [derings of the grotesque figures which ‘The painter h place the things which pertain to them of local interest and emotional appeal but that is not all which thrills us. We are In the Sabine Hills with an {called “tacky.” there is no evi- |dence of atmosphe and curiously {enough, in order to show all the fruit in the bowl, it Is deliberately tipped Sorvard in we are reminded that rendered to time and | what in technical language would be | Gothic sculptors in a spirit of merri- ment wrought for the great cathe- drals. And then there are the more 1complicated themes—the beautiful rose window, Beauvai of Notre Dame ac) oss the river, AN AQUATINT BY JOHN TAYLOR ARMS, ON VIEW AT THE DUNTHORNE GALLERY. seas, experienced and absorbed the &pell of Egypt, seen sacred dances in tropical jungles of the Island of Ball, and returned to this quiet studio, opening out upon the pastoral charm of Anticoli-Corrado, with a mind_ well stored, and a clear conception of the classic and universal beauty to be wrought out of simplified form and color. Sterne has built his form 1aassfvely with color in an architec of space.” persons 1t far from in fact, it is offensive. The impression which the everage visitor receives is of crass ugliness, of crude drawing, fumbling technique. To an extent the impres- sion is groundless. Maurice Sterne van draw. His first instruction in art was at the School of the National Academy of Design in New York. He was trained by the academicians. Any lapses which may seem to occur in draftsmanship are not through accl- dent or incapability but deliberate in- tent. Furthermore, though his sur- faces have the appearance of crudene: they are, if one will examine closely found to be maturely and most studi- onsly wrought. His paint at times is 3ut on almost as a lacquer or enamel ~-that surface which tempts the finger-tips, the sense of feeling. His work, which so greatly resembles that of an uncivilized, primitive people, is | ful the modernists scorn realism; they are not aiming at trut: ful representation. This is not a bowl of fruit but a mosaic of oolor, and as such should be regarded. Why, then, use natural forms? Perhaps the most understandable of fall of the pictures in this exhibition, | the one most nearly approaching tra- | ditional art, the art of the great mas- | ters from Titian down, is a head of a little girl, with pale face and black hair tied on elther side with white strings, a painting with little modeling {but characterful and showing beautl- simplification. e this, how- |ever, is merely a mask; there is no vitality in it, and the eyes are strange- ly drawn, with the awkwardness of the child or the savage. Maurice Sterne, it will be remem- bered, has “‘sought direct contact with primitive races.” It is his desire to escape tradition, to get away from civilization, to make a new beginning. He has set himself a difficult task, and a dangerous one. * x ¥ ¥ I T is gratifying to be from the perplexing modernists to such an exhibition of beautiful cotemporary art as that of etchings and aquatints by John Taylor Arms, now on view at Gordon Dunthorne’s, 1205 Connecticut avenue. John Taylor Arms was born in this sity in April, 1887, and grew up here as a boy. He was sent to the able to turn works of the “THE GARGOYLE AND HIS QUARRY, NOTRE DAME, ETCHING BY JOHN TAYLOR ARMS. which the etcher has used aquatint for the foreground, pure etching for | the architectural portion; charm. ing “Gerona’; that amazing piece of technique, the Ponte Vecchio, Flor- ence, an exquisite interpretation of the many-windowed facade along the river as seen from an archway of the cover- ed bridge. These and other etchings by John Taylor Arms not only set forth facts but interpret the spirit of the place which they represent. There is an in. | detinable atmosphere, a loveliness, a | human appeal which we find in the | thing itself and which allures. And what consummate art goes into the rendering, how exquisitely at times he simplifies, obliterates detail, how marvelously in a welter of detail he secures singleness of impression! Note, too, how in some instances he breaks the abruptness of the outlines of a tower against the eky, lightly surrounding the tower with soft clouds, adding as an additional touch or accent the flight of birds. Here is skill of an extremely rare order, com- bined with sensitive appreciation, the power of seeing truly and interpret- ing beautifully. Mr. Arms has made a speclal study of uatint and he has achleved markell success in his renderings in this medium. Most pleasing of the miscellaneous subjects printed in color is “The Red Mill,” a building near his own home in Connecticut, homely enough in itself, but rendered charm- ing through interpretation, the seeing eye of the artist. “Sunrise, Mont St. Michel,” is perhaps more pleasing in monotint than in color, and is seen in fascinating miniature in one of the pen and ink drawings—a tiny little affalr, scarcely larger than a visiting card, and yet completely indicative of that magnificent architectural monu. ment. ‘There is today a great interest in and enthusiasm for pictures of boats and ships, an interest partly patriotic, partly testifying to the continuing lure of the romance of the sea. Mr. Arms’ series of aquatints of boats is timely and engaging. An admirable piece of painting is “Where Junk Salls Litt.” *“The Golden Galleon,” from a painting by Will Simmons, and *“The Viking” are extremely well rendered and summon memories of stirring tales. The ‘‘American Clipper Ship” and “Bark Metis” come closer to our present day. There is a set of six interesting etchings of Princeton, most interest- ing of which, perhaps, is that of Nas- sau Hall, and there is also an etching made for a Christmas card, not the least artistically important of this ;"(;fi‘sucxm‘;ur:l etcher’'s works. For- e, indeed, are those who may boast its pessession. } And still a word in regard to the drawings. It is these which give, in part, the raison d'etre for the quality of the etchings, for an etcher who can- not draw—and drawing in the modern- ist school is held of little worth—need not etch. Etching requires good draftsmanship. Mr. Arms’ drawings in pencil or tn pen and ink, socme think, have a spontaneity which eludes the etcher’'s needle; but, after all, it is one and the same, and those who are of the impression that art is an accident and that all that is nec- essary is to express one's self, should see such work as this, which witnesses not only to extraordinary talent but endless capacity for taking pains. To i«oe such work fs Indeed a real privi- lege. * % T the Arts Club, 2017 I street, there open today three new exhibitions ~—one of oil paintings by Charles Bit- tinger, an associate of the National Academy. of Design and ¢ Washing- L} r he abandoned | a charming view | hllm‘upe\ by Josepl SUNDAY STAR. WASHINGTON, D. C, AT WASHINGTON ARTS CLUB “READY FOR GRANT'S INAUGURAL BALL.” BY CHARLES BITTINGER, WHICH IS ON EXHIBITIO} THE ARTS CLUB. tonlan by birth, but a Bostonian by residence; Canadian landscapes by Josephine White of London, and water colors by Miss Edith Hoyt of this city. Mr. Bittinger's paintings, which have been shown in the foremost ex- hibitfons in this countr; nd are to an extent historic in cha are in the upper "he Canadian land White and the Hoyt are down w i tea in 1l be given this Miss Hoyt M h colors by ) A priv of the artists w water £ came to Washington this occasio On the evening of day, March 6, Mr. and Mrs. G. A. Lyon will be ts at a dinner to be given at the at which Mr. an Wi istant orcoran School RicHann & principal £, A PAINTING N AT | tional Gallery of Art, this is one of | Mr. Dykaar's most successful works. The Dykaar exhibition will continue In the National Museum under the | auspices of the National Gallery of IArl until 3 ch 20. (JT 15 a ereat |1 : many friends of Willlam H to know he has alr 1y recovered froi tion which : | recently ) Iback at his office Jof the National Gallery of Art, now { within @ short space of time Not only ve the present collec- tions of the National Gallery of Art {been axsembled and set forth solely direction, but he is president of the Societ Artists and the Wast o the Holmes that sbliged to he expects to be directing the w of the | to the “AFTERNOON,” BY MAURICE STERNE, ON VIEW AT THE PHILLIPS MEMORIAL GALLERY. of Art, has been awarded the Phila- delphia prize of $150 for his portrait of Calvin Coolidge, jr., painted last year and shown in the annual exhibi- tion of the Pennsylvania Academy of Fine Arts, which is now in progress. The prize is awarded by a popular vote of visitors at the exhibition dur- ing the first three weeks. * k% W HROUGH error of labeling, the portrait bust of Karl Marx by W. Dykaar was published in these umns last week as a portrait of the late Alexander Graham Bell. There was a striking resemblance between the photograph and the bust of Mr. Bell, which was the more unfortunate as it would lead to the supposition on the part of those who knew Mr. Bell that the sculptor had not accomplished 1 completely satisfactory likeness; Rare Books Obtained For Tokio U. Library Largely destroyed by the earthquake and fire of 1923, the library of the Im- perial University of Tokio Is now in process of reconstruction and has just received a valuable addition through the purchase of 7,000 volumes that formed the Oriental collection of the retiring British Ambassador, Sir Charles Elliot. This collection in- cludes works dealing with various phases of Oriental culture and civiliza- tion. In the opinion of experts, the price paid—$50,000—by no- means represents the value of the collection, as included in it are many books that cannot be obtained elsewhere at any price. The collection covers a wide range of subjects, including religion, litera- ture, painting, history and language. and relate not only to India, Japan | and China, but also to Persia, Egypt, Africa, Russla, Siam and Central Asla. Most of the works are in Eng- lish, French and German, but others are in Finnish, Russlan, Turkish and Sanskrit. Notable features are the whereas in the estimation of Mr. Wil-| jam H. Holmes, director of the Na-' pecially invited to be shown in the approaching biennial exhibition of the Corcoran Gallery of Art. It was pur. chased recently by a Washington col- lector. * ok k¥ N fllustrated lecture on “Domenico Ghirlandajo” will be given by Charles C. Carruth of Cambridge, Mass., next Wednesday evening, March 17, in the auditorium of th Central High School under the s- pices of the Washington Society of the Fine Arts. This lecture will pre- sent a picture chronicle of Florence in the days of Lorenzo di Medici, and will e illustrated by most exquisite hand- colored slides. Mr. Carruth has spent much time in Italy. During the past 12 years he has devoted his entire timn to lecturing on the art of the Itallan masters of the renaissance. His {llustrative slides have all been exeruted under his personal direction. “Bibliotheque Orientals,” in four vol- compiled and printed by Galand 77; a reprint of the Bowers manu- scripts found in Central Asia, and “Fauna Japonica,” in four volumes, the last a work of great rarity and value. i Art of Middle Ages. An interesting exhibition of the art of the Middle Ages will be opened at the Bibliotheque Natfonale, Parls;_‘on January 28. In addition to some rfire tapestries it will include a selection of unique Latin, Greek and French flluminated manuseripts, some fif- teenth century colored prints that have never been shown in public, *bookbindings, ecclesiastical ~ orna- ments, coins and medals. The exhibi- tion will include also such documents of historical value as contemporary coples of Magna Charta, the record of the trial of Joan of Arc and the original record of the trial of the knights templar. Two concerts de- voted to the music of the Middle Ages will be given under the direction of Henry Expert, i Proud | storfes he has written to perpetuate MARCH 14, 1926—PART 2. REVIEWS OF THE NEW BOOKS The Story of Herbert Quick and Iowa—How the West Was Opened to Agriculture—An Artist Tells a Simple and Interesting Tale—A Novel or Two. IDA GILBERT MYERS. ONE MAN’S LIFE: The Autoblogra: phy of Herbert Quick. Indianapo- lis: The Bobbs-Merrill Co. MAN becomes marked and out- standing, now through the force of individual character and now through the quality of the times in which he lives. Strength of character may achieve much in even the most uneventful of periods. On the other hand, great events lend luster to the very least of those gathered within their In- fluence. When, however, a man meets, full face, some vital aspect of the general life, when he hoth em- bodles and interprets that point of importance and interest, then he ex- pands beyond the individual. Then he takes on historic significance and authority. Our own history shows many such meetings of the men and his times, many such complete identifications. Sometimes these have been of epic and spectacular quality, as In the early days of our struggle for in- dependence and in the later years of holding the Union inseparable. More often, though, these mergers of the man ind the moment have been lack- ing in drama. They have made no average mind that calls of the West to agri- these slow and cular movements. It was & slve dramu of widely scatter- “1 acts, of fragmentary, inconclusive scenes. Tt is within this unimpressive movement that the play of Herbert Quick’s life was set. The stage was the prairie of what is now the tall- corn State. The various acts and scenes projected the straggling growth of the ploneer settlement. And this, in time, gave way to villages right away from his direction. So, he lumbered out, had to walk ever 80 many blocks to catch a street car. It was getting late. He was in an awful hurry—and if the blamed car didn’t get held up by a truck—and so0 on, and so on. We all talk like this—all except the “Troubadour.” You listen. Then you read the “Troubadour"” for a not very eventful life made rich and communicable and most enjoyable through the art of holding to the points which, united and projected, make a real novel about the facts of common existence. * % o ¥ WINNER AND LOSERS. By Alice Hegan Rice and (ale Young Rice, | authors of “Turn About Tales.” | New York: The Century Co, | N short stories on the fifty-fifty plan of authorship here stand to the good account of the Rice partner- ship. A part of one's enjoyment in reading here is to mark off the stories, side by side, for relative points of view, relative ways of approach, rela- tive kinds of effect. Only a small part of the enjoyment goes into such fu- tile gestures, for the storles are, in themselves, of a quality to prevent | such diversion. Picked up wherever | human nature reveals Itself, these | short etories take on u fair range of | theme with the fresh interest that | such variety kindles. Not concerned | with deep problemns from Freud or the divorce court, the stories have a ticularly clean and peal. One ltkes thefr soundness i their general decency. Humor laughs its way into one's heart along with some of these storie 1t is never entirely absent from any of them, though humor knows its place here and keeps it. A most enjoyable book, that is not ashamed to be tender and towns and citfes. Surrounding and separating these later growths wera miles of prairie farms, miles of golden corn and whes 1 State ¢ s “lowa Herbert > he grew— lawyer, a mist of the this boy and man N engrossed, too, in a thousand things commonly passed over by other peo- ple, keen of sight and heart to the minifold beauties of the plains, by day and by night. by Summer and Winter. Herbert Quick was tremen- Aously alive to the well heing of this and beautiful now and then. A book whose foundation of good work, good building, is perhaps the basis of the whole excellence. * * PETER THE CZ | ¥ uncommonly co Peter the Great | contradictory and of such surpri | activity as to call, one would & for a very long story indeed zuthor's economy directed upon the | art of suppression on the one hand, | and upon the art of deep intensifica tion on the other, has produced af highly dramatic story of the great| heloved State and active to the last the great fa - rmer every together in life. A leisurely | time—time to stop for a closeup on this old friend or on that community character, for this incident and that —for the thousand and one details that serve to make a story alive. pro- vided they are ingrained with the le. me Man's Life” in effect, con- the three novels of fowa that rt Quick hus written. , # tad; H sides we, of coi e, Herbert Quick W proud of the in story of the biography is, the story of Iow story of the g son of Towa itself. * * NEGRO ORATORS AND_ THEIR ORATIONS. Carter G. Woodson, Ph. D., author of “A Century of Negro Migration.” ete. Washing- ton: The 1 Ine. N intent t the most readable of forms the ate. And this auto- no less than the novels, as it is also the and good native is educative. haracter, the best interc of the negro him self, It consists of the best work of the most able and most deeply inter- ested men of the negro race in behalf of their own people. Occasions of vital import to the negro have called out these orations, whose scowe covers the whole period of self-conscious growth and development on the part of conspicuous members of the race. In a sense, therefore, this is & history | of intellectual and spiritual growth. The chief facts in the life of each orator are here given, especially those facts that have made for influence {n the ways of progress and a general well-being. Combined, the orations sketch the history of the negro in America, pointing the significant w marks of his advance in this coun Combined, they also constitute a gr story. And, besides, they stand In substantial evidence of the negro's command of a high order or eloquence, which clothes vital matters in phrases of great beauty and power. As his- tory this book is well worth the study of every American. As oratory it de- serves a place with the best. * k% ¥ TROUBADOUR; An_ Autobiography. By Alfred Kreymborg, author of “Mushrooms,” etc. New York: Boni & Liveright. JEVERYBODY is a storv. The < “Troubadour” suggests this. Iverybedy is a story, if only he could et his story into the open. If only he could free it from the clutter in which it is burled. deliver it from his own inconclusive and wandering habit of thought, from the mass of trivial and irrelevant stuff in which it lies too deep for rescus. All of these things “Trouba- dour” has done. It has lifted from this clogging mass a clean string of relevant things pertaining to the artist’s life that is here portrayed. Here s youth with its bent toward art. Here are the years dominated by a single impulse. Here are the beginnings aid the later satisfactions. Yet this is a colorful and rich story. It is no document. Rather is it the ~ontrolling impulse recognized and fol- lowed, up and down, not always suc- cessfully but always steadfastly. A story of the artist in the artist's atmosphere, yet a true story of a real man, named, dated and other- wise identified. It is so simple, so straight, yet so completely the romance of life, that it opens the thought that everybody is a story. But getting it out is the hopeless matter. Listen to anybody’s talk. Listen to your own. Take this as the point of a story, “I bought a car to- day.” The man begins the story with getting out of bed, with dressing, with breakfast. Then he hangs passionately and long upon the day. Was it Monday? Yes, it was Mon- day. No, no, it was Tuesday! He remembers now because it was the morning that—yes, it was Tuesday all right. He took the street car— no, by George, Bill Brown came along just then and sald he was going that way! So, he got in with Bill and the first thing he knew ihey were golng of the West, | svoted to I only he could | P’eter that is but lltile m short story. A thing to be re But Peter is here And in i to death within his nature thar “at Russta for which he he stands. Interesting, . Klabund, who Is a brute w Savage, landing words gathering thoughts i | hard bullets of three-word sentenc Tremendous in effect, though. As if | this Peter could brook no softer me- | dium. One wonders if this Is the art that it so conclusively appears to be It would be worth while to read thi Klabund on a gentler theme. ke Dblows, irianne Guuss, New jarper & Bros dern life, taking on and p: nd other out-o! house occupations. This is the of a capable young woman Wwho suc ceeds markedly, as so many of the women do in professional life. The { drawback to this success, if it can be| called a drawback, was the inevitable | falling in love that came to this girl. | The man—well, one can deal with the man only in the impression that he creates. He seems a weak thing— | in a brilliant and {fl!nvflr:m\em.nll r One feels like apologiz-| jest the man mfi for much m reader. 1 ..mi we lost the key haracter through If that be true, the counts for a feeling of unc about the story as a whole. two distinct purposes to meet? had 1t, originally, but one that—some | way, somehow—split into two as low | forms of animal life separate Into dis- | tinct individuals, cach going its inde-| pendent way thereafter? The story does not seem to be wholly coherent, wholly conclusive, wholly well carried out. BOOKS RECEIVED BITTERN POINT. By Virginia Mac. “ayden, author “At the Sign of | the Sun,” etc. New York: Albert | and Charles Boni. i MUSIC AND ITS CREATORS. Ly | Neville D'Esterre. New York:| Adelphi Co. | THE ETHICAL AND RELIGIOUS VALUE OF THE DRAMA. By Ramsden Balmforth. New York:l Adelphi Co. CYNTHIA CODENTRY. Pascal author of ste. New By Ernest “The Dark ! York: Bren-| tano's. BRITISH ARTISTS—RAEBURN. By | E. Rimbault Dibdin. Edited by * . A., F. | BRITISH ARTISTS —THOMAS : GAINSBOROUGH. By Hugh| Stokes, author of “Francisco | Goya,” etc. Edited by S. C. Kaines Smith, M. A. New York: Fred- erick A. Stokes Co. BRITISH ARTISTS—BLAKE. By | Ernest H. Short, author of “His- tory of Sculpture,” etc. Edited by S. C. Kaines Smith, M. A. New York: Freerick A. Stokes Co. | INTESTINAL GARDENING; For the | Prolongation of Youth. Second Edition, Revised and Enlarged. Dr. James Empringham. Al- | Matthew Bender & Co. MEN OF MYSTERY. By Wilder Av thony, author of *“Hidden Gold, ete. Frontispiece by G. W. Gage. New York: The Macaulay Co. THE GOLDEN SQUAW: Being the Story of Mary Jemison, the Irish Girl Stolen by the Indians from Buchanan Valley, Adams County, Pa., in 1768. By Will W. Whalen. Philadelphia: Dorrance & Co. THE SURVIVAL VALUE OF CHRIS- TIANITY. By John loffatt Mecklin, Ph. D., author of *‘The Ku Klux Klan,” ete. New York: Harcourt, Brace & Co. i THE GREAT GOD BROWN: THE : THE MOON OF THE ] and other plays. By Eugene O'Neill. New York: Boni & Liveright. SOLDIERS’ PAY. By William Faulk- ner. New York: Boni & Liveright. A STUDY OF CHRISTIAN SECTS; With an Introductory Chapter on the Jews. By William H. Lyon. Thirteenth Edition, Revised and 7 enlarged by John Mal Boston: The Beacon Press, Inc. LIV PICTUR, he Church of the Living Messfah. Boston: The Christopher Publishing House. TEA NC THE LIVING JE CHRIST. Boston: The Christopher Publishing House MORNING'S AT White Primrc son Al Corner Tales Christopher THEO am K. Ma New Theory of Ft The Christopher | COVER CHARGE rich, New right. - House y Cornell Woo Boni & Live THE PUBLIC LIBRARY at of in the Publ recommends this colum Recent Library and reading will appear each Sunday. accessions Books on Political. Social and Ec nomic Questions. D a1 & Baker. N Pre stitution, Beach, W 1 Relatior W. Al mat Europe. JU Distriet of Colun fic. Annual R D63, ector of Tra +HIRO Guittea Pol JT Harriman, ¥ the Cross I Hauer 1p. Ken rule. 1914 % ton-Davies, John. The New Ago Fa 1 s' Fight fo WZ Divor 1 Church. C in Ameri 1 KWs 699§, Hazard, Carol KWE1 Hughes, G KWX-H From Coliege Gates Mothers in Industr; and Locl The Freshman G kwood, F. € KWE Johi . KWLl ON EXHIBITION Etchings and Agquatints by John Taylor Arms Gordon Dunthorne 1205 Connecticut Avenue Sixth Large Printing 33rd Thousand! ‘THE HOUNDS OF SPRING By SYLUIA THOMPSON Harry Salpeter, in The New York World, says: “Last year had itsMar- garet Kennedy; this year has its Sylvia Thompson. Thesheer virtuosity of her per- formance casts ‘The Constant Nymph’ into shadow...It looks very much like the novel of the sea- Dorothy Foster Gilman, in The Boston Tran- script, says: “Every one who reads it will be touched by its magnificence.” $2.00 at All Booksellers LITTLE. BROWN & | | CO..Publishers,Boston