Evening Star Newspaper, January 23, 1927, Page 50

THE SUNDAY STAR, WASHINGTON. D. C, JANUARY 23, 1927—PART 2. ________________——_—__—_______——__———mm REVIEWS OF WINTER BOOKS Benjamin Franklin as the First Civilized American—Margaret Annual Exhibition of Society of Washington Artists—Frenchj Color Prints on View—The Key Paintings BY LEILA MECHLIN. HE Society of Washington Art. |other ists has just cpened its thirty- | sixth annual exhibition in the) Corcoran Gallery of These exhibitions have invari- | ably been upheld to o high standar [ and the present one is no exception to | the rule. One does not lookb - | rent exhibitions of this sort for m | terpieces, but one oceasionally | find, and in this instance more than | occasionally find, extremely clever and thoroughly enjoyable works The general appearance of the ex hibition is pleasing. The first impres. sion received is of good color in | abundance and virile brush work, and 85 the eye swiftly surveys the semi- circular and flat s one and an other well painted theme catches and momentarily detains attention The plctures are numbered chrono logically, beginning on the flat wall to the visitor's left upon entrance. | No. 1 is a painting, “Flowers and Fig- | ures” (note that emphasis is placed on | the former), the work of Catherine C. | Crichter, who, while still retaining | her residence in this ci and spend \ ing her Winters here, is now a mem- | ber of the famous T peiety of Art ists, with Summer studios at 'I':ur\'.} N. Mex. This is an excellent work | a daring composition well rendered. | The flowers, cut and In a bowl, are | the foreground, between the observer | and the Indians depicted, and it ig the | flowers which, through their brilliant | coloring, give key to the picture. This painting would un-ioubtedly find a welcome in any collection. But it is | no more modern i style nor colorful in effect than many of its present neighbors. There is 4 vogue today for strong color, and never before have the painters found more vigorous ex pression than at this time. The day for subtlety, to a great extent, seems to he past; at present we are essen tially downright, direct Tn that first sweeping survey of the walls on which are hung this exhibi tion bits of admirably painted still life—flowers and objects—cannot have failed to be noted, pieasurably noted. Next to Miss Crichter's picture hangs a picture entitled “Jar and Fruits,” by Harriet B. Kuhne; a little farther on is an exquisite interpretation of purple petunias, by Marguerite C. Munn; in the center of the flat wall, in the position of honor, is a beauti fully rendered group of old china, by Hugh H. Breckinridge, painted with that same meticulous care with which William M. Chase once painted huge fish, but with a full, flowing brush. Beyond, again to the right, are some “Autumn Flowers,” by Mary G. Riley, and on the opposite wall may be noted another still life by Marguerite C. Munn, more Autumn flowers by May C. Marshall: “Fall Flowers,” by Mar- guerite Neuhauser; a large canvas en- titled “The White Bowl,” still life and flowers, by Elizabeih Muhlhofer, and an exquisitely painted “Bottle and Brass Kettl by Ruth Porter Ward, who exhibits this vear with profes- sional artists for the first time. To the right and left of the Breck- enridge painting hang canvases by Cameron Burnside and Theophilus Parsons. The former is entitled “Pass- ing Cloud—Folly Cove,” the other “Dry Northeaster.” Mr. Burnside and Mr. Parsons use somewhat similar technique, one which suggests a cer- tain kinship with the French impres- sionist school, but does not follow di- rectly in its footsteps. Form, plane and definition of line paintings all seem engulfed in color. Utterly different both in point of view and attack is “The Port” by Edgar Nye, a large painting and a complicated subject reduced to the ut- most simplicity, in which form and line and flat simple color are em- ployed to produce dynamic effect. Va- riety in viewpoint, as well as in mode of execution lend interest to the viva- clous art of today. ‘There are some excellent and ex- tremely interesting landscapes in this exhibition—two by Lucia B. Hollerith, a pupil of Mr. Burnside; two by Gar: net W. Jex, secretary of the Land- scape Painters’ Club; two by Ruth Osgood, all in entirely different vein. Tom Brown has sent paintings en- titled “Along the Potomac,” “Spring Comes Round Again” and “Autumn Day.” all full of atmosphere and bea tifully rendered—pictures which an might covet to own Benson B. Moore is well represented by two Winter landscapes, Edith Hoyt by a very charming picture of “Vetch and Birch Trees,” rendered with a nice ap- preciation of values. Gladys Brannigan has sent a pic- ture entitied “By the Old Canal,” a virile and admirable work which once seen will not easily b8 forgotten. Eva Springer shows two paintings, one of which is a typical scene in New Mex- ico; while from Margarete Lent has come a well constructed and sincere interpretation of a bit of upland road, which, through its merit, lends a note of distinction. There are fewer pictures and wharves than commonly. An ex- cellent one of “The Old Ferry,” Glon- cester, however, has been contributed by Clara R. Saunders, and from Elsie Brooke Snowden has come a notable canvas entitled “The French Steve- There is a good sprinkling of figure paintings in _this exhibition. Mrs. Bush-Brown has sent a portrait of Margaret French Cresson, showing this accomplished young sculptor in her workshop as pausing while at work. of boats and Drawings. sketch of Jdoseph P. Day, t portrait Mrs. Doeller, both skillfully modeled Mrs. E. Catlin Phelps, counted upon, it seems, ing contributions, portrait one a he i be who « for interest is represented by 4 of a Japanese “Sue Ta Kamini.” Hattie E. Burdette sends a well rendered figure of a hand brunette ot background. Eugene Weisz shows a straightforward portrait of which does him ‘great credit and cvi dences distinct advancement From Camelia Whitehurst a_charming picture of a ““Rosamond, berg Gibson two most engaging figure paintings done in a style quite own, one “Salome.” the other “Mar Both of these paintings are ex wely toneful, freely rendered ous in color The place of honor on the semi-cir cular wall has been given this year to a paintng of the Rocky by Lucien W. Powell, dor Powell’s well known style. Burtis Baker, who is best known as a painter of portraits, is repr in this exhibition by a lands sketch_made on Cape Cod last Sum mer. Richard Meryman, principal of the COorcoran }choo! Art My Baker's colleague, is unfortunately not represented at ali. Mrs, Leisen ring’s work is also missed On the other nd there n ex cellent little picture, “Melting Snow. by A. H. O. Rolle, president Landscape Club: a clever figure t ing, “The Purple * by Char R. Dunn, and a reticent interpretation of a young woman in a blue gown, “Giovenettl.” by Bertha Noyes. Gladys Nelson Smith contributes a_delight ful picture entitled “Autumn,” figures and landscape, showing the radiance of light through frosty atmosphere. S. Peter Wagner is represented by a picture entitled “The River Bank, and Margaret Scully Zimmele by one entitled “My Great Grandmothe Sugar Bowl” Mrs. L. MacD. Sleeth contributes a painting entitled “airy Wood,” which is in truth enchanting But one cannot mention all, Included in the sculpture are three works by Louise Kidder Sparrow, the most charming of which, perhaps, is a piquant study of a child, “Ruth Eliza beth.” Mr. H. K. Bush:Brown shows his lately completed portrait of Dr. Harvey W.. Wiley and the head of a “Laughing Boy,” the latter in marble: Mrs. Kelley shows a portrait bust and a study in composition, **Adoration”; Russel Lord-Wood contributes book ends of unique design, and Peppino study some seen against a a hoy come little girl A PORTRAIT OF MARGARET William | and from Mary Kremel- her | and | Mountains | nted | ape | of the ; \ | 1 | and for many John Tayloe, who built vears lived in the Oc The rtiet himeelf was born in Md but his early life hington. As a little | sited his grandparents in the M land home, where Scott Key was horn, a picture h. painted from memory included in this exhibition. He also, of was much in the old rancis scott Key house in Georgetown, which he has likewise painted. He recalled visiting hix great uncle in the Octa | gon. when he was so little he could | hardly scramble up the steps, and a | vivid impression was made upon his { mind when visiting Arlington one day in company with one of his grandpar ents he was told that Laf: nd | ing on precisely the same spot where on his young feet then stood. and | looking toward the then young Capital | City. had exclaimed that mo capital in the world had a more beautiful n ural setting. When John Ross Key | was more than 65 years of age he decided to paint this panoramic view of Washington from Arlington For |15 years he worked on this picture, which is given a place of honor in the present exhibition As little boy John Ross I?l'\' | played in the garden at Mount Ver non, paid friendly visits to the Lees at Ariington t Van Ness man it the old McKane house. Being sen Sitive to beauty and having distinetly artistic tendencies, vivid impressions were made on his young mind which ! later years helped him to translate (he medium of pigment on | anvas pictures which must be reck joned (e historical documents as well us works of art. The plctures | which Mr. Key painted are essentially | | “portraits of place.” He was a realist; | | he painted what he saw with patient [care. but also artistic instinct. There | course is a sion as is a certain resemblance between his work and that of the English school | to which, for instance, the late Walter Paris belonged. But it is interesting and worthy of note that in his char- | coal drawings Mr. Key employed a de- | cidealy broad method. | Undoubtediy, his historical subjects, |in which the old houses which were pcial centers in the early days of Washington are chief features, pos: sess paramount interest, but his land- scapes and his flower gardens are by no means without merit, and all go to establish_the fact that in the environs of Washington he found picturesque, paintable themes. Among this type of painting in the present exhibition, for instance, are ‘“Summer on Chain Bridge Road” and “Sunset on the Po- tomac."” Several of the pictures in this ex- FRENCH CRESSON BY M. LESLEY BUSH-BROWN. IN ANNUAL “RUTH ELIZABETH.” EXHIBITION * i A BUST BY LOUISE KIDDER SPARROW. WHICH IS ON VIEW AT THE CORCORAN GALLERY OF ART I THE ANNUAL EXHIBITION OF THE SOCIETY OF WASHINGTON ARTISTS. Mount Vernon”; “Arlington in 1840,” ete. Mr. Key in employment in the C Survey, where Whistler in 1854 like- obtained employment a It was thiz experience him accuracy in drafts. youth found st and Geodetic his wise as draftsman, which gave manship. As early as 1877 Mr. Key exhibited about 100 paintings in Boston, where he was then residing. At the Phila- delphia_ exposition in 1876 he was awarded a medal of the first class by the international jury. His pictures have also been shown at the world PAINTING ON EX. HIBITION AT THE CORCORAN GALLERY OF ART. Mangravite sends a rendition in wood of “A Flame." The exhibition February 2 will continue until * % % x under the Gallery National Museum, auspices of the National of Art, there is now to be seen a col- lection of oil paintings and drawings by the late John Ross Key, which is of unique interest. Mr. Key, it will be remembered, was the grandson of Francis Scott Key, author of “The Star Spangled Banner,” great-grand. I.\' the Mrs. Cresson has herself contributed two portrait busts to this exhibition— BIRTHPLACE OF FRANCIS ¢ BY JOHN ROSS KEY. son of John Ross Key of Revolution ary fame, and a near relative of Col. ‘OTT KEY, AUTHOR OF “THE STAR THE PAINTING 1S ON EXHIBITION AT THE NATIONAL MUSEUM. E. D. Ecy.) i (Copyrizhi by | hibition, which continues to February have been sold, and Congressman rifin of New York has declared his intention of introduding a bill into Congress: to purchase for the national collection, if not all of Mr. Key's paintings, certainly those which have historical significance, such as the | “View of Washington from Arling- | ton,” the *‘Home of Francis Scott K the ‘“Birthplace of Francis Scott Key,” “Arlington in 1862,” “The Octagon House,” “The Old House at Rock Creek,” “Path to Spinning House, Mount Vernon'; “Old George- I town Garden,” “Path in the Garden, fair, Chicago, and at the exposition at Omaha, Nebr. Ten or fifteen years ago Mr. Key occupied for some time a studio in the old Coreoran Building, since torn down. It was here that the sunset view on the Potomac was painted, and numerous other canvases shown in this exhibition. He was a courtly gentleman, tall, of large frame, essen- tially distinguished appearance and gallant bearing, the best type of the gentleman of the old school, and he lived to & good old age. In 1920, when in his eighty-third year, after a brief iliness, he died in Baltimore. ok ok * has become so customary to con- sider prints—etchings, engravings and lithographs—as, comparatively speaking, the poor man’s art obtain- able at a price which those of moder- ate means can well afford, that it is something of a shock to learn that the works in the loan collection of French color prints now on exhibition in the Smithsonian Institution under the auspices of the division of graphic arts of the National Museum, are priced at from $300 to $4,500 apiece, and that all but three of those shown cannot be had for less than $1,000. What does it mean? Charming they are, to be sure, but why such values? The explanation lies in rarity and in demand. These French color prints, which were never numerous, are today held in highest esteen by collectors and because of sharp com- petion bring enormous values. That they are charming, exquisite, none will gainsay, and if one cannot pos- sess a choice example one may learn their character and gain their ec- quaintance through this special and well arranged exhibition. he highest priced print in collection is “L'Oiseau Ranime” by Debucourt, who lived during the latter half of the eighteenth and the this | early part of the nineteenth century, an engraver who was essentially an artist and who designed and executed his own plates. In this particular many of these French color prints differ from the English color prints, the latter engravers being most apt to reproduce, through their own me- dium, the works of the distinguished painters of their day. This, in fact, s been ail along the habit of pic- 1 engravers; and such is the sig: nificance of the little word ‘‘after” found in the legend attached to many of these prints. The work of the great French color print makers—mezzotinters and aqua- Possibly no pictorial art has ever more truly interpreted the life of a period than these particular works. And despite its flippancy, how charm- ing it was! As a distinguished writer has said: “Of all the periods of art, this is one of those which could least well be blotted out.” And how strik- ingly it contrasts in its exquisite dain- tiness with the stodgy period, which was soon to follow. s included In this . by the way, but one more week to run, closing on the twenty-ninth of January, are some of the most famous prints in ejitence, and each and every one has come from a world-famous collection. In a sumptuous volume on the French color prints of the nineteenth century, published some years ago by Lippin cott, a number of the prints shown in this exhibition are reproduced, for in- stance, the portraits of Marie Antoin- ette and of Mme. Du T., by Janinet; “Les Bouquets ou la Fete de la Grand- Maman” by Debucourt, “L'Oiseau Ranime” previously mentioned: “‘Ma- dame Huet Reading” and “Madame Huet Playing the Guitar,” by Demar- teau, both in the crayon method. The opportunity this exhibition offers for a study of these fine prints is unusual. None who is interested in fine art should fail to take advan- tage of it. o 5 N exhibition largely composed of pupils' works was held in the studio of Mr. and Mrs. Cameron Burn- side January 14. The Burnsides are not only excellent painters, but gifted instructors, possessing the ability to develop talent without restraining in- dividuality. Among the work of the puplls shown were excellent still lifes by Miss Hollerith and Mrs, Staley, both in oils; a group of water colors by Mrs. M. D. Dawson, and a really phenomenal group of drawings from the nude, in line, by Mrs. Louls A. Bauer. There is nothing more sig. nificant than fine line, nothing which will convey more surely beauty and emotion, but there are comparatively few who ever master the art to this degree. Mrs. Bauer seems to have done so purposefuily, instinctively. Not merely for a student, but for an accomplished professional artist, this group of drawings would have been an extraordinary achievement. In his own studio Mr. Burnside had, among other works lately completed, a most attractive stilllife painting, luscious in color and handsomely ren- dered, which he was sending to an out-of-town exhibition. Mrs. Burnside has been doing some engaging figure painting, following, to a degree, French cotemporary meth- ods, using large fla: areas of color with extremely decorative effect * K ok % the Arts Club the current ex- hibitions changed yesterday, and from today to February 5 may be seen there, at the usual hours, collections of water colors by E. Frances Carson of Boston and_Provincetown, Mass., and by Clara E. Saunders, a member of the club, who lately returned from several months spent in Japan and China. This will be the first showing of sketches made by Miss Saunders on this trip. 3 * ok ok ok 00 much cannot be said in praise of the artistic success of the Arts Club Bal Boheme, held last Monday evening at the Willard Hotel. The committee on decorations is to be heartily congratulated on the beauti- ful effects produced through art, Obviously the costumes, many of which were particularly well designed, lent picturesque interest. bug of ut- most_significance were the so-called “‘stunts” put on by a special commit- tee. These: partook of the best form of playfulness, which from early duys has been associated with artists’ gatherings. These features of the ball supplied Washington with that for which there has been a long-felt need and in quality were equal to the best to be found in the great art centers of the world—New York and’ Paris. And yet a word should be said in praise, artistically, of the costumes especially designed for and worn by the floor committee upon this occa- slon. Here, again, art was made to play a useful and appropriate part. The club was fortunate in secur- ing for its judges in the costume prize competition artists of such distinction as Gari Melchers, J. Monroe Hewlett and Clifford K. Berryman, the findings of whom seem to have met with uni- versal satisfaction, which is rare. * ¥ %k % HE Landscape Club of Washington held its fourteenth annual meeting recently at the home of Charles A. R. Dunn, at which time officers were elected for the ensuing year as fol- lows: President, A. H. O. Rolle; vice president, W. Bowyer Paine: treas. urer, C. . Wittenauer, and secretary, Garnet W. Jex. Among the recently elected members of the club are Lieut. Col. J. O. Mauborgne, Francis §. Watts, Roy Clark and J. C. Benzing. IR That Larger Problem. From the New York Sun “The London police have decided that 10 minutes is long enough for a woman to buy a gown. They have not tackled SPANGLED BANNER,” PAINTED tinters—reflect to a great degree the gay, somewhat flippant but essen- tially picturesque life of the period. the larger problem of how long it should take to pay for it. Deland Brings Out a New Novel. Other New Fiction. IDA GILBERT MYER! AMIN The First Civilized American. By Phillips Russell lustrated New York Brentano’s. AVE for a the annual roll of benign and slightly presence, patiently standing the year round at a down- | town intersection of the great Appian Way of Washington, gets scanty re- gard—commonly none at all—from the preoccupied crowds that daily pass him by. When, however, the week headed by January 17 makes its regular appearance, then this erstwhile forgotten figure becomes the center of marked ceremonial homage. For the seven days just past orders and organizations and companies of pilgrims have gath- ered round him and for the week through that bustling and unbeauti- ful span of city street has been & flaming memorial bank of wreaths and flowers and flying banners. Lis- tening then at almost any hour of the day one might have heard stra of song and snatohes of martial music and fragments of eulogistic speech above the rattle of street FRANKLIN out of that pudgy single week < |wanted to know ahout Joanna God- good women roundabout. Here, in Shefla Kaye-Smith's serfous and com petent manner, is another story of Jo anna Godden, living now on another farm and bringing up the little Mar- tin whom she had named for the vague but very real lover of her youth; for the real jover of her life, in fact. But here to the farm comes a man questing Joanna. A fine man, too. Doesn’t cut as much of a figure as the regulation hero of romance is wont to do, but he bulks big in his way of looking at life; in his fine and kindly handling of the fears of Joanna; in his sincers friendliness to the Ifttle Martin. And, oh, life is life! And Joanna is lonely, even with faint memories of a wondarful Martin away back in her girlhood, Joanna is lonely. And little Martin needs a man. The farm needs a man. Jjoanna needs this big neighbor—and so the tender story, o full of life and :ts questions and needs, comes to an end in the quiet power of Shefla Kaye-Smith when she is seeing life, nearby und close to her discerning heart. There are other stories here, all of the same brand, | but this is the one that tells what we den after she left Ansdore Farm, be {cause good women looked upon her without sympathy and with contempt. cars, the honk of motors and the clip-clop of hoofs So it has been all over try. In city and town and gathering places people have together in this mid-January week to celebrate the 221st birthday anni- versary of the great patriot, Benjamin Franklin. And after testimonials to the high worth of thix famous Amer- ican are gathering. Recently the pa- pers told of a beautiful and costly memorial, shared in by all the people, 10 be set up in Philadelphia. Conspieuous in this tide .of spon- taneous tribute are many new publications—books, monographs, plctures. Outstanding in this group is Phillips Russell's biography of “the first civilized American,” Ben- jamin Franklin. The prime purpose of this author is to redeem Franklin from the double calumny of perfection on the one hand and huge imperfections on the other. Springing from the com- mon source of Puritan intolerance one of these libels has taken effect in plain lying and the other in an equally clear hypocrisy. The first was projected in the interest of public education, the second for the protection of public morals. At this point Mr. Russell is not greatly in- terested in either of these public concerns. His absorption here is to make use of all the material avail- able—some of it new, much of it old ~~for the purpose of recreating Ben- jamin Franklin as he was, as he worked and achievea for the good of the new government in which he was so deeply concerned. Here facts that are new to the general reader step into place, combining with the old set of impossible perfections to produce a living man, one like the rest of us that he does serve to stimulate and to inspire. An odd mixture of a man, like the rest of us, one who loved life, blending with this love all sorts of measures and plang for the good fulfillment of indi- vidual destiny. Here you will find the source of Poor Richard’s Alama- nac. Here you will find the reason for many a famous deed. or word, attributed to Franklin. Here is ad- vjee to young men, hitherto held back from common use. Here are love letters to Franklin—harmless things whose importance lies in their long concealment. Here is the story of a man who lived his life with gusto, tasting it on his tongue, savoring it with all his senses. Mr. Russell's manner is beautifully in accord with the purpose of this work. Here is a touch of it in answer to the question of Franklin as the “first civilized American.” “Because at an American period eminent for - rowness, superstitution and bleak beliefs he was mirthful, generous, open-minded, learned. tolerant and humor-loving. Because he was the first American man of the world in the sense that he was the first Amer- fean world man.” Here is the k note of a scholarly study that is backed by a firm grip on the human slde of life, by a keen sense of the proportions and balances of indi- vidual existence. % wx the coun- wayside THE KAYS. By Margaret Deland, author of “Around Old Chester, ete. New York: Harper and Bros. GREAT crisis in the common life, say like that of the World War, sets the sober-minded one here and there to wondering what the attitude and behavior of Jesus Christ would have been were He an actual earthly partaker of that acutely critical hour. Some such thought as this may hav marked the inception of “The Kay: The novel goes back to the approach of the Civil War. Its chief character is a woman of religious nature who has all her life tried to pattern h'e‘rself upon the precepts of Jesus. Not in a Sunday way, not merely in a church-foing way—but every day, and in all of every day's affairs. In peace time, a “queer” woman. But when the war flame spread, this woman became a different matter in public opinfon. To live like Jesus in war time—distrust, dislike, contempt, ha- tred, persecution. That's what it would mean. That's what it did mean. Worse yet, was the son bred to the bellefs of a beloved mother. Then there was the father—about everything a man shouldn’t be—but he was a fighter, ready to g0 to war, ready to drill a company in his half- forgotten war lore. A hero, this father. The son, a renegade. The mother hated and forsaken. Such is the heart of this matter, which is the measure of Jesus Christ when the gods of war are let loose. A strong and beautiful romance, including a young love that partakes of the eftects of the generally unhappy sit- uation. Besides its legitimate use of providing pleasure and approval for & multitude of readers, this novel demonstrates a beloved theory of my own, a logical theory as weil. This is nothing less than that any worker sheuld grow Increasingly in power as time serves to ripen his art. More than a dozen novels are counted for this author. “The Kays" 1is the strongest, the mellowest, the biggest in conception, the finest in projection of them all. Suppose that this gifted woman had dismissed herself from further writing on the ground that she had done well enough. Well, we should have been heavy losers, then, and so would she. Now, another one, se. Lo * %k k % JOANNA GODDEN MARRIED. And Other Stories. By Shella Kaye- Smith, author of “Joanna Godden,” etc. New York: Harper & Bros. 'OU'VE not forgotten Joanna God- den. You couldn’t have, for this is @ woman of substance, one to re- member. You recall her in that other story, living on Ansdore Farm, wait- ing for her baby to be born when you left her. It doesn't need a story to tell about the selling of the farm and going_away somewhere else—for, you see, that baby had no father, and in such a ease it is good for & woman to Tun away, so as to get far from the come | * k x X MAN COULD STAND UP. By Ford Madox Ford, author of “Ne More Parades,” etc. New York | Albert & Charles Boni iTME bright-green paper cover of this book is filled—front, back and inside—with press tributes to the genius of Ford Madox Ford. The most perceptive of writers is this one, the most dramatic in projection, too. And when it comes to mastery of the Eng- | writing & novel right off the top layer of life itself, right under her own eves, as & matter of fact THE WORLD'S ST BOOK OF MINSTRELSY 3y Herbert Pres ton Powell. lllustrated by Charles ck. Fyll instructions for pro ducing, with complete first parts and specialties. Philadelphia: The Penn Publishing Co. ADVERTISING RESEARCH Percival White, author of “Market Analysis,” ete. Illustrated. New, # York: D. Appleton & Co. THE LAST OF THE GNOSTIC MAS TERS; A novel. By Thomas Saw yer Spivey. Beverly Hills Pub lished by the author. THE WORLD ALMANAC BOOK OF FACTS, 1927 York: The World. THE FLAMP: 7 the Schoolbo, V. Lucas. Crane. New okes Co SLIGION AND New s Apprentice Mustrated by York: Frederick AND COMMON SENBR By Martin J. Scott, 8. J., author of “God and Myseif,” etc. New York: P. J. Kenedy & Sons. THE HOME RADIO UP' TO DATF How to Make and Use It A Hyatt Verrill and E. k. Verril New York: Harper & Bros THE PUBLIC LIBRARY Recent accessions at the Public Li brary and lists of recommended read ing will appear in this column each lish language words fail to express even in small measure the supersense of Madox Ford, or Ford Madox, to the mere sound of a_word, to its ca- denced place among its fellows, to its fitness for the idea behind it. It was in the midst of such an outburst of critical approval that I took up “A Man Could Stand Up.” This is one of three novels, it appears, which, as a whole, are designed to gather up certain vital aspects of English life as it is shaping in recovery from the im- mediate results of the World War. Out of 20 pages or so I, in labor and anguish over roundabout paths of ap- proach, came upon a girl at a tele- phone where pieces of a shattering message are being delivered through the thousand imperfections with which the telephone is constitutionally afflicted. Not one of the thousand is missed here. But at last the purport of the communication is that some one wants her—some man. The girl, a school teacher, instead of racing off after the man in want, appears to hold a series of faculty meetings— herself and the head comprising the faculty—for the sake of disclosing what 1s on her mind about the man, as well as for discovering what is in the mind of the head on the same subject. Nobody on the outside gets a thing from that meeting. That's as far as I've gone, that's as far as I've had time to go, and [I've not the slightest inkling of what lies under these forward-and-backing words, these geeing and hawing words. Some time- on some long day of leisure—I've prom- ised myself to find out what this bril | liant master of English is trving to tell in his matchless projection of Eng- lish life by way of the novel. I'm owning up to an ignorance and lack of taste that should shame any one. 1 am ashamed and I'm going to train myself to the measure of making Ford Madox_ Ford intelligibre to me. Be. sides want to know about that “ma; It's an intriguing subject— “A Man Could Stand Up"—if he would—and I'd be glad to be on hand when he does it. So—some day! e THE CUBICAL CITY. Flanner. New York nam’s Sons. (QNLY a cubic foot or so of Man hattan could be really seized and apprehended by even the most dis- cerning of students and the most sym- pathetic of Interpreters. But the great city is a siren of enchantment, one to whom writers in growing num- bers are delivering themselves. There can hardly be too many of these, if they are sincere and gifted and fit, for it 18 a commonwealth of all hu- manity, a sumptuous pattern of life v one of its fervid phases. So, let the thousands of pictures come, let the hundreds of tales pile up for a partial understanding, at least, of this most fascinating center of metropotitan life. Here is a first novel by an ambitious and able young woman who has the courage to tackle her cubic foot of New York. A cor- ner of art and near-art is the one selected by this writer for the cre- ation of certain men and women that are much alive to the circumstances around them, so much alive, in fact, as to be upon occasion, the makers of situations as well as the actors within them. A way of her own charac- terizes Miss Flanner as a woman of independent thinking, of pretty straight seeing, of a good sense of dramatic construction, of a really human grip on the human. So, here is a story of substance and charm, one that will pay for the time put on it—and this is saying a_great deal. Read it, and then look for another, even better than this one. o YOUNG FOLK, OLD FOLK. Constance Travers Sweatman. York: Willlam Morrow & Co. ET in St. Paul, this romance might have had any other background the world over, since It deals with the universal business of the young folks of the present hectic period. However, the local surroundings have the advantage of familiarity and that of sincerity as well, offering, too, a welcome change from the overstressed soclal landscape of New York or Chi- cago. The theme is one that calls conspicuously for restraint and a sense of story, structure. It Is the withholding hand that counts in a matter 80 abundant in circumstance and incident as is the whirl of youth in this particular moment of time. And this author will garner a good share of praise for her reticencies, for her sense of proportion, for her skill with local bits at one point and another. The theme is already a bit overwritten, but, since it is a para- mount matter, one of vital significance as well, it is bound to furnish a sub- ject for some time to come to the writer wishing to deal with life as it seems really to be. One could read the story with eyes shut, so to speak, so familiar are the escapades of boy and girl set down here. There is, however, a slight point of de- parture and an important one. The parents of the two girls who provide entertainment a novel's length here are not quite the usual imbecile pat- tern of the frightened fathers and mothers that in the open are clearly queering the game of their freedom- possessed offspring. These two do have' glimmers of intelligence that prompt them to try at least to under- stand something of that which is go- ing on around them. The novel has no speclal distinction of style, no un- usual quality of manner—and this is no criticlsm. Rather is it admiration for one with the courage and industry to make a beginning in the way of Janet Put By Q. P Sunday. Fiction. pseud. B Barrington, Dreams and Delights. Burr, Mr Moon. Chesterton, G. K Father Brown Dunsany, E. J. M. D. P., The Charwoman's 2 Fielding, Henry, 17071 Wild. McKenna, clety. Parrish, Anrne Richmond, Mrs. Square. Tarkington, Booth. Literature. Anacreon Odes. 1902 Anderson, Sherwood Y-an2iT. Apollontus, Rhodius. Jason and Me. dia. 1902, Y32-AG8j. Apulelus, Madaursnels. Cupid Psyche. 1901. Y38-Adc. Belloe, Hilaire. The Cruise of the Nona. Y-B4159c Chamberiain, R. W G., eds. Progressive Prose. Y-9C3533p, Edwards, M. B. B. Poetry. 1919, Hearn, Lafeadio. ings. 2v. 1925. Y-H3560 Lee, F. H, ed. The Lure of the Sen -L511. { Luclan of Samosata. Dialogues of Courtesans. 1902 2-Léd. Propertius, Sextus. Elegiae Y36-Pea. Music and Art. A. The History of Or- VV1-C237. Amateurs nglish Madri A. R West of the The Incredulity of 18th baron ow. Jonathan Stephen fours of So- Tomorrow Morning. G 8. Cherry The Plutoerat Y32-Adoa tebook and ana Bolton, J Readings in French Fireside Y39P-9Ed92(.E. Oceidental Glean 190 Carse, A. von chestration. Cox, G. T Students. Fellowes, E gal. 1926, Fisher, W. Spirituals F53Tnh. Fisher, W. Spiritual ourreau and The I VVi v-F , od. Heventy Negro High Voice. VZV A., ed. Seventy Negro Low Voice. VZV.F537n! Armand. Berthe Morisot i Lafargue, Corot Wi10-C814 LE. McColvin, L. R. Euterpe. W-1M 13e. Odum, H. W. and Johnson, G. B. Negro Workaday Songs. VV83. Od8s6n Sloan, John. John Sloan: ed. by A. B, 1925, W10-8152 Gallatin. Tabarant, Adolphe. Pissarro. P678tE. Toye, Francis. Musician Turner, W. J Weissmann Modern W10 The Well-Tempered VV-Th6xw Orpheus. . VV-T8530. Adolf. The Problems of Musie. VV-W4ILE Science. Crandall, 1. B. Systems and Ellls, Carleton. Synthetic Resins and Their Plastics. RQU Field, Samuel, and Bonne Chemical Coloring Allied Processes. KE-F45 Graham, D. A. Student's Textbook on Sheet Metal Work. TJL-GT6 Heyl, P. R. The Fundamental Con- cepts of Physics in the Light of Modern Discovery. LH-H518f Loomis, M. T. Radio Theory Operating. TGC-L8T6r. McCabe, Joseph. The Marvels Modern Physics. LH-M 1 Motz, W. H. Principles of Refrigera« tion. TCR-M85. Ohio State Univers. Dept. of Phyaics Manual of Physics dents. LH-Oh3. Stoddard, T. L. isms. LA-St63s. Sulltvan, J. W. N. Aspe ence; Second Series. LA Theory of Vil ound. LM-C Metals and and of Columbus. Laboratory for Art Stu- Scientific Human- s of Sci- usa ’ His Lucky Line. From the Boston Transcript Amateur Palmist—You cross the water. . Ardent Golfer—@Good! 1 knew I'd negotiate that water hazard if 1 kept at it long enough. soon to 22 7 T2 220 § The Memorial Exhibition of the Beautiful OIL LANDSCAPES BY JOHN ROSS KEY Grandson of the Author of “The Star Spangled Banner” Now on View and for Sale by Mrs. Key The collection contains many historical scenes in America, in- cluding colonial homes and gar- dens in and near Washington. John Ross Key was one of the reatest landscape painters merica has produced, “His pictures express cheer,” says a Congressman connoisseur. National Gallery Z 7 R 222 T 2 22, of Art PP v 777 HI I 22222222222 2R e 7T 77 7 LI1IIEIIIII LTI NI,