Evening Star Newspaper, October 21, 1928, Page 42

THE SUNDAY Phillips Memorial Gallery Opens and Special Exhibition Is Arranged—-Modernist Productions and Old Masters Draw Attention. ' BY LEILA MECHLIN. I HE Phillips Memorial Gallery has | opened a month earlier than| usual this season in order to ac- commodate the large number of visitors to Washington in attend- | ance at the Triennial Convention of the Protestant Episcopal Church. Not only has the gallery been opened earlier. but a special exhibition has been arranged and set forth occupying the main gal- Jery, the little gallery of transient shows and the beautiful gallery on the | first floor, with its handsome library | furnishings. | ‘The collections set forth in the two :gper the most tinctly y that have | heretofore been shown. for in the past | when the modernist productions have been set forth it has been in company | with the works of certam older masters. | But now the innovators are seen as a company by themselves, and perhaps | the most surprising impression that one carries away is that of an inherent | ity not previously recognized. e Renoir masterpiece, “Luncheon of the Boating Party at Bougival,” occuples in the main gallery its usual strategical position on the wall opposite the entrance, immediately catching the eye and the attention of the visitor and | giving the keynote of the collection | on view. To the right hangs Couxhfl's‘ superb painting of the Mediterranean, with its deep, resonant color, and to the left one sees now the celebrated self- portrait of Cezanne lately acquired The side walls of this gallery have as centers and dominant interest a newly acquired painting by Bonnard en- titled “The Palms” and a famili painting by Luke of a “Pouting Boy." old but never outworn in attraction. Bonnard, it will be remembered, is a Frenchman, one who served scveral years ago on the international jui of the Carnegie Institute, Fittsburgh— 8 painter of figures and landscapes. In | this new work. which is 2 canvas of more than ordinary size, he shows an | unusual composition—an almost ghest- like figure of a young girl in th2 im- mediate forground, completely in shad- ow, with an extensive background of hills, city, sea and sky, a characteristic outlook on the Riviera, framed by palm branches arching overhead—a most | elaborate and unusual composition—hot | and at the same time cold in color. | imaginative and realistic, a2 picture which one cannot decide on the in-| stant whether to lik> or dislike. but| sbout which one cannot indifferent. | ‘The average layman ing this exhibition is heard to ask, “What does Why do these artists paint in this way?” The best answer, per- haps, is that in each instance the painter has beem charmed by an ar- rangement of lines or forms or a com- bination of colors, and he has en-| deavored to give his delight tangible :mnb . In no instance are these | ittempting to reproduce or | imitate nature; nor. it may reason-| ably be supposed, do they care to be explieit. y are not painting on | order or to please. If their language is_unintelligible it makes little or no | difference to them: but if one is sym- | pathetic it is possible to find interest and pleasure in the works of these | self-absorbed abstractionists. For in- | stance, next to the Bonnard “Palms” | hangs a still life by Matisse—a few flowers in a vase, seen against a mirror | which _reflects only blackness—and | something black is on the table beside | the vase. And whether or not ome| cares for the way Matisse paints, or | even for the subjects he chooses, one | must admit that this note of color | against blackness is not only alluring | but memorable. In the same way a canvas by Villon, | a recent acquisition, representing a | machine shop, is significant as an | artist's interpretation of what the | average person would consider utterly ‘uninteresting, deadly dull. Villon has seen the shop with its machines, aflame | with color—color from the furnace, | color in the light, color, always color, | vibrating with heat, in the midst of | which the machines are but an| incident. | ‘This picture has as neighbor a painting by Marffy of two girls seated at a table before a large op2n windo In this case it is the girls that are in- | cidental and the light, scintillating in wir, that has attracted the artist and | that has been transcribed. | On the opposite wall hang some- what more conservative works—two | e paintings of fruit, one by | Monet, the great French impressionist | who was primarily responsible for | taking down the shutters and throwing open the window of contemporary art | to sunlight and atmospheric effects; the other by Maurice Sterne, today one of the leaders of modernism, discard- ing the amenities of grace and beauty which Monet considered essential to his art, to all art. Regardless of this fact, none can deny that Sterne's dish of fruit, tipped at a crazy angle and unfinished in effect, is a tour de force, & beautiful combination of form and color. Placed precisely where it is, at the end of the line, this painting re- ‘ echoes agreeably the note of strength and luscious depth of color found in | the Zuloaga portrait of “A Girl of | Montmartre” which hangs next to the Luks and is separated from the Stern: by a rich, characteristic landscape Emmnest Lawson. | At the end of this gallery, to the| right of the door, hangs a famous pain ing by Gauguin—the patron saint. | v *“POPPIES TRIU BY MARJORIE, PHILLIPS IT EXHIBITION *OF FHILLIPS MEMORIAL GALLERY, | floor, is “a postscript” to ths sacond and | truth combined with parfect balance, | group is an entrancing portrait of the | Hayes Miller. “VIRGIN OF ALSACE.” BY BOUR. | DELLE. EXHIBITED AT PHIL- LIPS MEMORIAL GALLERY. | holding its own, a recent landscape b it were. of the post-impressioni ists—whs Mr. Phillips him- ed as “an exotic why which he could not conform and which had constrained his esthetic impulse: | whose art was, in all sincerity, the | primitive expression of savage races CEZANNE'S CELEBRATED SELF-P TO THE PHILLIPS M old friends, such as Gifford Beal's beau- | tifully painted “Garden Party,” decora- tive in color, romantic and with a sur- face like a rich plece of old lacquer: ! 'so a long. narrow panel of fruit by racque, painted with a reticent dry brush, but with a consciousness of fine- nesa of form and sensitiveness to color ralues: also Allen Tucker's “Red Barns,” glowing with light | Here are some recent additions: A | flower painting by Marjorie Phillips. which is simple and decorative: a little interior with figure. by Miss Sands, an English artist, purchased from the ex- hibition of contemporary British art shown at the National Museum last Spring. These two collections in this new tri- unit exhibition were arranged for the purpose of demonstrating that “art is mbolical” and that “art is interna- ional The third unit, on the lower is called by Mr. Phillips “an interna- tional group.” In this group Daumier and Ryder hold forth supreme, Daumier occupying, with a single exception, the entire left wall, Ryder being given the greater portion of the right wall. And what a feast! Here one has compe- tence, painterlike quality, romance and comvlets harmony. The single exception in the Daumier great violinist, Paganini. painted by De- lacrof, a painting perfectly at home in compzny with the works of the master, Daumier. The Ryder group ix chntered by a nortralt of the mpainter by Kennsth Ryder died in 1917. This picture is dated 1913, so it represents Ryder in hiz latsst days—a strong characterization. A Rvder, “Resurree- | tion," lately added to the eollection, is| shown here for the first time. In the second of the lower rooms one | finds well known paintings by Kent— | “Voyaging": ack’s mystical “Cruci-| fixion”: a charming little Davies, full of deliberate classic suggsstion; Ce- zanne's well remembered and beauti- fully painted landscape, “Mont St. Vic- toire”: with next to it, and admirably| v [ Marjorie Phillips—rolling hills beauti- | fully patterned, with a little house in the foreground. 1 Here, too, one finds a beautiful | statuette, “Virgin and Child,” by Bour- delle, which possesses primitive sim- plicity and classical beauty and| strength, while up in the little gallery | | E'nest Proctor) of Penzance, Cornwall, | | England, for a “Porirait of a Girl" acter the artists represented have recognized brary and lists of recommended reading | ' will appear in this column each Sunday. | | Brain, W. R. Galatea: or, Th» Future | ORTRAIT, A RECENT ADDITION | EMORIAL GALLERY. Geuguin’s father was a Braton and his mother a Peruvian. After & n seas, he took up painting in Faris as a pastime, under the influrnce of Pi- casso, Cezanne and Van Gegh. His art, | chiefly produced in the isiand of Tahiii, | has a savags tang, but has exerted a| powerful and, many think, bad influ ence on the art of today, for his weak | followers misinterpreted his strength as | derived from savage instinct, whereas | the merit of his work comes from a cer- tain inherent appreciation of desizn and ability for sculpturesqus effect The little gal 2t pressnt contin- ues @he adventure in modsrnism and ts forth a small group of works in flar vein. Here th» visitor familiar h the Fhillips collection finds some | above stairs, lending emphasis to the! ling many | paintings, 18 Hunt Diederich’s unique| d charming little bronze, “A Spaniard on Horseback,” and in the main gal- lery the Egyptian Hoad, on2 of this gal~ lery's supteme treasures, is shown. To these who are sirangers ©» this llery and to Washington it should told that tie Phillips Memorial Gal- lery is still a collection in the making. the purpose of which is to give the voung art of the world opportunity ts prove its strength, its sincerity. to test eut its genuine and abiding worth. | In this respect the Phillips Memorial Gallerv is unique among American art | inatitutions. | 'This gallery is open free to the pub- lic on Sunday. Tussdey and Saturday afternoons from 2 to 6. * * THE Corcoran Galles its Eleventh ibitlon Contem- | porary American Oil Paintings to the PAINTING EXHIBITED IN public a waek from today, October 23. Next Saturday will be varnishing day, | when a press view will be given from 9 am to 3 pm, followed, in the eve- ning, by the opening reception and! | private’ view, to which several thousand | visitors have been invited. | The jury of sclection and award has | b2en meeting 1n Washington this week. | This jury consists of Charles W. Haw- _horne, = chairman; Karl Anderson, | Ernest L. Blumenschein, Adolpe Borie |and Aldro T. Hibbard. with the direc- | tor of the gallery, C. Powell Minnige- | rode, as A m mber both of the jury and of the hanging committes, Mr. ( Hawthorne is both painter and teacher, and it would be hard to tell for which he deserves greater credit, his superb | and portrait | {and significant figure | paintings or his admirable and unusual Summer school of figure painting at Provincatown. Every one in Washing- ton who has attended the cxhibitions set forth in the Corcoran Gallery of Art at regular intervals in preceding | seasons is familiar with Mr. Haw- thorne’s work. is aware not only of his compstence as a painter, power es an interproter of character and personality. Mr. Hawthorne is one of thoss whose works bave universal significance. Karl Anderson is a Chi- cago figure pamter, one who possesses a fine color sense; Ernest L. Blumen- s=hein is a member of the Taos Colony and has done his best work in the In- dian country, interpreting Western life seen today: Adolphe Borie is a por- | trait painter, a member of an old dis- who conservatism | iinguished Philadelphia family, | rombines Phi'adelphia | with Frénch treedom of thought and |love of heauty: Aldro T. Hibbard is a| {"andscape painter, a New Englander by | !blrvh and residence, a pupil of De Camp | and of Tarbell. winner of the first Hall- garten prize, N. A. D.. 1922, and of the “eznan gold medal. Penneylvania Acad- emv of Fine Arts, in 1923, This jury awards the Willlam A Clark prizes, which are accompanied by Derain of Paris, France, for a still life; second prize of $1.000 to Pedro Pruna. a | | painting of “Greenwich Village": | honorable mention, carrying with it an | | Kel of Art will open but” of his| STAR, WASHINGTON, il D.: €., OCTOBER 21, N PHILLIPS MEMORIAL GALLERY “GIRL OF MONTMARTRE.” BY ZULOAGA A PAINTING IN THE NEW TREUNIT EXHIBITION OF THE PHILLIPS MEMORIAL GAL- LERY the Corcoran medals, and announce- ment of these much-coveted awards | was made in Friday's Star. | oo ow | 'HE Carnegie Institute of Pittsburgh opened its international exhibition | of paintings last week, at which time | the following prize awayds were an-| nounced: First prize of $1.500 to Andie Spaniard, of Paris, France, again for a still life; third p:iz> of $500 to Glenn O. Coleman, an American of Long | Beach, Long Island, New York, for a first | award of $300 to Dod Proctor (Mrs. | ; in | addition to which honorable mention | was awarded to Marle Laurencin of | Carfs. France, for a “Composition” Ceorgina Klitgaard of Bearsville, N. Y., | | | erys of Deynzs, Belgium, for a painting, | “Winter in Flanders.” The Allegheny . Courty Garden Club prize of $300 for the bsst painting of flowers or of a garden was awarded to Henri Lebasque | of Faris, France, for a painting of | “Flowers.” All of these paintings are distinetly in the modernist manner. These awards were mede by a jury | of four artists, presided over by Homer Saint-Gaudens, director of the depart- ment of fine arts. They were Anto| | Carte of Belgium, Colin Gill of England, | : Rockwell Kent gnd Ernest Lawson of the United States. Fifteen nations are rapresented in this | exhibition. Following the plan adopted | last year, approximately one-third of | the usual number of artists were in- | vited. Each artist, however, sends from | three to five pictures. In this way vis- itors to this exhibition can, it is thought, ecome better acquainted with the de- velopment of pereonality of the artist i represented than if a single example | of each were shown. The purpose it to | set forth in this international exhibition all aspects of piesent-day art. to offer through it to the public a full and fair- | ly accurate report of what is going on | in art circles in America and in Europe, typifying perhaps the ideals and char- of modein civilization. All of sianding in their own lands. THE PUBLIC LIBRARY Recent accessions at the Public Li- | Evolution. of Darwinism. MW-B734g. ith, Sir Arthur. Concerning Man's Origin. MW-K267. Mason, Frances, ed. Creation by Evo- lution. MW-M386. H lution, MW-T286w. History. Bevan, E. R., and_Singer, C. J., eds.| The Legacy of Isracl. F61-B466. | Etherton, P. T. and Tiltman, H. H. | The Pacific, a Forecast. F 16-Et. | Gibbs, Sir P. H. The Day After T morrow. FE-G352d. Hwuy-Ung. A Chinaman's Us. FE66-H9I. Leforge, T. H. Memoirs of a White | Crow Indian. F304-L52r Mukerji, D. G. A Son of Mo Answers. G69-M824s. Hoffman. the Opinion of | m. nther India The Turning | Revolution | of F832- | The Middle Ases Standing Bear, Luther. My People, the Sloux. Sioux Chief. F304-St26m. Gardening. | Cotter, Sir J. L., bart. A Simple Guide | to zaflsfli.k Gardening. 1926 RIS- Cox, E. H. M. The Evolution of a Gar- den. RIS-C838e.. Durand, Herbert. Wild Flowers and Ferns. 1935. RIS-D936w. Jones, H. A, and Rosa, J. T. Truck Creo Plants. RIA-J71 t. | Macself. A. J. Vegetable Gardening. RIA-M24v. Sawver, R. V., and Prrkins, B. H. Water Gardens and Goldfish. RISD-Sa9. | Essays. Burt. M. 8. The Other Side. Y-B9520. Chase, M. E. and Macgregor, M. E. eds. The Writing of Informal Y-9C387w, Tustace. 771, Hastings, W. T. Contempory Es Y-9H278. Conversation. | Eichler, Lillian._ The Art of Conversa- tion. 2 v. BQ-Ei24. | Heseltine, Olive. Conversations, | Anthony Munday. Chemistry. Adkins, H. B, and MacElvain, 8. M. Elementary Organic Chemistry. LQ-Ad5. Blanchard, W. M. An Introduction to General Chemistry. LO-B3961. Bradbury, R. H. A First Book in Chem- istry. LO-B722f. Evans, C. T. An Arithmetic of Ele- mentary Chemisiry. LO-Ev 12, Foster, William. The Romance Chemistry. LO-F813r. Hudleston, L. J. Chemical LO-H863c. Jones, T. W. Hermes: or, The Future of Chemistry. LO-J72. Luros, G. O. Essentials of Chemistry for Nuress. LO-L377e, Smith, A. V. A Comparative Study of | of for a “Truck Garden,” and Albert Sav- |. Thomson, J. A. What to Read on Evo- |’ | BRIDGE: Simplified. BQ-, Afnity. | BOOKS RECEIVED ECHO. By Shaw Desmond. New York: D. Appleton & Co. TWOPENCE COLOURED. By Patrick Iéhmmon. Boston: Little, Brown & 0. CHINA'S CRUCIFIXION. By Putnam Weale, author of “Her Closed Hands." New York: The Mac- millan Co. BLUE TROUSERS: Being the Fourth Part of “The Tale of Genji." By Lady Murasaki. Translated from the Japanese by Arthur Waley. Boston: Houghton, Mifflin Co. LOVE. By William Lyon Phelps, Lampson professor of English lit- erature at Yale University, of “Happiness.” etc. New York: E T. Dutton & Co., Inc. THE LEGEND OF QUINCIBALD. By Leonard Bacon. New York: Harper & Bros. A PROPHET AND FOOL; A Collection of Poems. By Louis Golding. New York: E. P. Dutton & Co., Inc. W. H. HUDSON: Bird Mun. By Harold Goddard. New York: E. P. Dutton & Co,, Inc. YOUTH: A Book for Two Generations By Elizabeth Sloan Chesser, M. D, | with an introduction by Angelo Patria. New York, E. P. Dutton & Co., Inc. JOSEPH WARREN FORDNEY; An American Legislator. By John Andrew Russell, A. M., LL. D., dean of the School of Commerce and Fi- nance of the University of Detroit. Boston: The Stratford Co. THE AMBASSADOR: The Lyman Beecher Lectures on Preaching. De livered at Yale University in the Month of April, 1938, By Right Rev. James Edward Freeman. D. D., LL. D., Bishop of Washington. New York: The Macmillan Co. THE CALVERT SERIES—THE CATH- OLIC CHURCH AND CONFESSION. By Leonard Geddes. S. J. D. and Herbert Thurston, S. J. York: The Macmillan Co. THE NEW QUEST. By Rufus M. Jones, Litt. D.. D. D.. etc., professor of philosophy. Haverford College. New York: The Maemillan Co. REJUVENATED. By Mrs. James Fifield, author of “Hicks Jarou. Minneapolis: The Midwest Co. CHEMISTRY IN MEDICINE; A Co- operative Treatise Intended to Give Examples of Progress Made in Medicine With the Aid of Chemistry. Edited by Julius Stieglitz, professor of chemistry, University of Chicago; advisory editors, Anton J. Carlson, professor of physiology, University of Chicago: Reid Hunt, professor of harmacology, Harvard Medical chool; Frank R. Lillie, professor of zoology, University of Chicago: La- fayette B. Mendel, professor of physiological chemistry, Yale Uni- versity, and H. Gideon Wells, pro- fessor of pathology, University of Chicago. New York: The Chem- ical Foundation, Ine. MYRTELLA; A Romance of Ancient Greece. By Brookes More. author of “The Begger's Vision.” etc. Bos- ton: The Cornhill Publishing Co. THE BAHA'T WORLD: A Biennial In- ternational Record. Volume II, April, *¢26-April. 1928. New Y Baha'i Publishing Committee. HOW TO SPEAK FRENCH: With a New and Easy Pronunciaton. Re- printed from the Montreal Daily Star. By Hector Garneau. LL. B., chief city librarian of Montreal. Montreal: Renouf Publishing Co. A Book for Be- ginners. By Hereward Carrington. Introduction by Sidney S. Lenz. New York: Lewis Copeland Co. A SPORTSMAN'S SCRAPBOOK. By John C. Phillips. Illustrated by A. L. Ripley. Boston: Houghton- Mifflin Co. New Only wit}) this Circular Trade-Mark do you get the bes author | 1928 - PART 2. Complete Works of Francois Villon, “Father of French Poetry"—The Day of the Cowboy—A Survey of Greece Today—The Newest Fiction. IDA GILBERT MYERS. ] FRANCOI® VILLON. Complete Works. | ‘Translated by J. U. Nicholson. II- lustfated by Alexander King. Two! volumes. New York: Coviei, Friede. | A MAN sourced in pagan times, with- out doubt, J. U. Nicholson. His| poetry tells this about him. And. mov- | ing forward out of that distant day, he came to medieval France, the Prance | of Louis XI, Jeanne Darc and Francois | ! Villon. Tt is in company with the last | of these that Mr. Nicholson has ad- vanced upon the present in a compre- hending and sympathetic interpreta- | | tion of Francols Villon. “father of French poetry.” These two men, so | scparated in time and circumstance and | achievement, are nevertheless united | |in a single bond of deep kinship. Both |are pcssessed of a passionate hatred of |old “age, decay, death, the shuffiing| | stumble toward that horrific black hole |in the ground. Both bitterly resent as |a shabby plan the passing of youth, the fading of beauty, the treason of ro- mance, the dull ashes of old fires. Nicholson is a stoic, as the modern has |to be. Villon is frankly scared, as a |child might be, screaming his fears, | turning wastral to cover them with | | drink and thievery, with women ani| | crime and vagrancy of every stripe. But at bottom there is this unity which makes of Mr. Nicholson the under- | standing student as well as the devoted and scholarly on2. So, in great paticnce, he uncovers the life of Villon. throw | away the lics and false reports ths gather around greatness everywhere, ting for the truth at each step, and | welding such truth into a consistent. | believable and most interesting study | of the man himself and of the period which produced him. Beyond this | comes the great point in this impres- | sive achisvement. Here. through 'Ths Little Testament™ and “The Big Testa- ment.” poem by poem, in ballad and lay, in rondeau and rondelle, there stand face to face on every page a Villon poem and the transiation in poetry of modern technic by Mr. Nicholson. A stupendous undertaking, provided it advanced no farther than that. But to accomplish it in so much of trus poetry of the Villon impulse and spirit becomes pretty close to be- |ing a good deal of a marvel. Leading to the translation itself is a poem by | this translator, one whose refrain is | “Villon is drinking deep tonigh Here is “Paris—1456." A beautiful thing, alive as life itself, a haunting song of | Villon and old Paris. Well, here are two big volumes, sumptuous in appearance and cer- | tainly deeply valuable as a_contribu- | tion to the better appreciation of a |man who threw his life away. Well, |did he? Many are ready to say that| the poetry left by Villon, a heritage to {the world for all time, is worth th= destruction of the man himself. Here is what Francois Villon is said to have thought about this matter: “When Paris had need of a singer, Fate made the man. To king's courts |she lifted him: to thieves’ hovels she ilhrust him down, and past Lutetia’s| | palaces and abbeys and taverns and| gutters and prisons and its very gal-| lows—past_each in turn the man was | dragged, that he might make the song of Paris. So the song was made. and | as long as Paris endures Francois Villon | will be remembzred. Villon the singer | Fate fachioned as was needful, and in | this fashioning Villon the man was| | ruined in b and soul. And the song | 'was worth it.” | Fashions in dress and in customs and | story is by design adventure based upoa ways of thinking have changed. So.| certain facts of our early settlements. that which in that long ago was on-| As such it will be read. with an added tirely permissible and enjoyable is. to- | satisfaction issuing from the point that day. locked upon p-rhaps as a bit gross, | it is a true story and not a “made-un" a shade vulgar. Therefore, the perzcn|ons. As vivid as “Through the Wheat" unhapplly possessed of a shut mind | in detail and scope. “Simon Girtv" adds unable to transpor. himself into other|to the success gathered in oy *ho times and circumstances, grows un-! earlier novel as it s» positively offe happy over Shandy and his gay and | another good story to lovers of adven- irresponsible disclosure of strictly fam- | turs in the field of actuality. ilv matters. A shmhmnm is a heavy PR affiiction. Out of it has grown most of the unhappiness of the world, and not | THE SEVEN SISTERS. By Jean Lillv. a little of its backwardness. On the; New York: E. P. Dutton & Co INO. they are not ladies, other hand. what a joy the open mind sisters” are not. Seven oak trees must be! The mind open to all -f time. to all of history, to all of the | instead, a part of the “Old Prentice immediate life’ around. resdy to slip|Place.” where this mysterious matter is into any and every possible situation. | worked out into the light of open day. with prompt appreciation of everything, | The basic theme is the ancient one of personal and impersonal, that comes 10 | hidden treasure, with the oak trees in) | hands over the | makes us acquainted with Toby Shandy it for a welcome. It is for the suste- narice of the oven mind that wiss pur- veyors are bringing back the earlier things—writings, customs, the whole enduring output of geanius wherever and whenever it may be found. That is what “The Modern Library” is doing 8o, receptive to that older and smaller day. to that rich day as well, settle down to the gay and whimsical mood of Laurence Sterne as h2 franklv family secrets and If we are not already enriched by ac- quaintance with that most enjoyable man. R GREECE. By Willlam Miller, F. R, H. 8., author of “Greek Life in Town and ~ Country.” ete. New York: Charles Scribner's Sons. ERE is a study. a survey. of Greecs as it is today. it was vesterday. For these are shift- ing scenes, truly, filled all of them with | facts and implications of uncertain drift and importance. However, the first two chapters of this book have the value of a stability which national cir- cumstance in a measure denies to the remaining chapters. One of these de- scribes the land of Greece and its peo- ple in their native characteristics, in their acquired possibilities of expansion, | of adaptation applied to the modern situation of government and economic development. The other of these two chapters gives the century of Greek history lying in between 1821 and the new outlook imposed by the effects of the World War. Beyond this point the author presents a great amount of de- tail to describe, to evaluate and to illuminate the last eight years of Greek aspiration and movement. ' The Athens of today is described 2s the cen- Safer to say. as | | this case coming finelly under de picion as conspirators in a prolonged concealment. The story is told by a mild-mannered young man, an archi- tect, who, back from the war, finds himself with little or nothing to do. Looking about, somewhat limply, for a commission in, his own profession, he | finds himself involved in the most as- | tonishing situations, many of which are | set by the opening up of the fact that | there is a hidden treasure somewhere jaround the old Prentice place. Th |voung man confesses almost at once | that in questing about for a job he fell | in love with Nancy Prentice. " So there- | after the story is a divided one. As a love story it is a success in a very charming and simple frankness of woo- ing and winning. As a treasure hunt . going back into the secrets of the Pren- tice family for many vears—years that uncover black sheep as well as white | ones—there seems to be less of certainty |in the writing hand of this author. In this phase of the matter the invention | tacks both virility 6f grip and ingenuity | of invention. However. a love story most acceptable to the majority—so not let it go at that? * ok ok | THE RED SCAR. By Anthony Wynne, | author of “The Sign of Evil." etc Philadelphia: J. B. Lippincott Co ‘ANTHONY WYNNE is at home with | 5ty the story of mystery. He should, by this time, bs able to carry one of these | through with skill and conviction. But, | for some reason, “The Red Scar" doe: not register in complete clarity. Pos- | sibly the author sst too hard a task for | himself. Here is a man, supposedly | killed. ~ Certainly hs has disappeared, i leaving evidence of foul play. This vic- | tim is one of the philanderer brand, one hy ter of politics. of education. of plans for | Of those irresistibles who pursue a cour. the out-reaching of its various plans | into the country as a whole. The place | of the press is defined. The economic | condition of the country is summed and | weighed. Indeed, the whole modern | purpose and outlook of the country is | competently and intimately surveyed | and related to the general world move- | ment of which it, like every other coun- | try, is a part in these days of close | intArrelations. Wi s passing pano- ramic view in mind, the author states | the special problems of Greece and, in connection with these problems, out- lines, also, the prospects, immediate and more remote, for the economic and | governmental future of the country. | The bock 1s an overflowing ressrv of facts. Just possibly, if these hld] been less abundant, the vital ones more | conspicuously set out, there would have | been a simpler, and truer, conceptioi on the part of the reader of the out- standing lines of the situation and the problem as well. However, as the au~ thor states, the book is more of a run- | ning account than it is, or can be, a | permanent outlook. For the moment, | if you want light on the subject, you | would better read Mr. Miller's inclusive | and clearly reliable account. P La SIMON GIRTY: The White Savage. By Thomas Bovd. author of | “Through the Wheat.” New York: Minten, Balch & Co. | * ok ok ow COWBOY. By Ross Santee. TIllus- trated by the author. New York: | Cosmopolitan Book Corporation. "TTHE story of a boy chasing the rain- ! bow of his dreams, just as we all do as long as we are able to set one foot ahead of the other. Adventure was the | lure—this being a boy. Away off in the cow-hills of Arizona there seemed to be | to this youngster from Eastern Texas | the very pattern of that which went to bed with him at night and got up with | | him in the morning. So, just naturally, | THE United States is now a smiling | the boy ran away whén a good time | garden from coast to coast. Yet| seemed to be at hand. Not such a good | only about a century and a half ago | time, after all, for he had to go back | it was a wilderness, save for the nar- | | home—twice, T think, before his father | row colonial strip along the Eastern helped him to make a success of the | seaboard. Within this vast area and/ next time. Don't forget that father, this narrow stretch of time miracles for he is of the right stripe. And you | of Leroism, of endurance, of achieve- will love him, for his patience and good | ment have come to pass. In the be- sense and his remembering how a boy |ginning there were only the Indians.| feels about any number of things. Well, [ Then the white man came. The | | inally on his way, the boy hits the cow- | story immediately issuing from such a | country of Arizona. A magical place, | conjunction is not particularly credit- | they say, this Arizona is in its peculiar | ablé to the colonial. However, ‘Thomas | make-up of sand-reaches and colors| Boyd's purpose here is to reconstruct | shifting to all shades and back again. | a bit of history in the form of an ad- of its skies with stars ready to be picked | venture, not to arraign the white men | Just over one’s head. This is all in the | for his injustice to the natives. With | story. But mostly it is a slow-spoken | such definits purpose in mind Mr. Boyd | report of what happened to the boy | hunted out old records of fact con-| who ran away to learn the business of | | cow-punching. A hard job, and it is only at the very end that the boy speaks up like this: “It was my first time out as a cow-puncher an‘ the Fall work had begun.” Leading up to that was work and work and a new lookout into life which is pretty much what all th> boys want. A beautiful story, beautiful in the spirit | scattered ‘along, saying hundreds of | things that the pen has to give up.l Ross Santee has been a cowboy himseli. | Of course, you can see this just as you can see that he knows how to make pic- tures and how to tell a first-class rale | of adventure for everybody, not just for boys. * | By Laurence | The Modern TRISTRAM SMANDY. is likely that everybody has read completely satisfying “Modern Library” ! first part appearing as long ago as. K- A Sterne. New York: Library, IT “Tristram Shendv.” but in ease that not quite everybody has, here it is in th edition to further him on the way of ' such adventure. An old, old book, its 1760. And many things have hap-! pened in the intervening 168 years WEBSTER'S The “Supreme Authority’ Tt appears only on Merriam-Webster Dictionarie. Give yoursei satisiaction of having in your home and office the grea .and used universally in the courts, e ority vecognized libraries, and schools oi America. Get The Best In its 2,700 pages it contains 452,000 encries: 408,000 ocabulary terms; thousans of new words such as audion, joy stick, C-tube, Freud, Hejaz, Fa: , Stalin, with meaning, use, spelling. pronunciation:, etymology; 12,000 biographical entries; 32,000 geographical subject:; over 6,000 illustrations; 00 valuable tables. At All Bookstores or Write to Certain Tests of Achievemsnt in High School Chemistry. 10-Sm52. Weiser, H. B, Tha Colloidal Salf -Widse. . & €. Merriam Co. Springficid, Mass. cerning a certain part of the Eastern | frontier in which a white man, Simon Girty, threw in his lot with the Indians, giving up thereby his family and any| standing he might have had among | the white settlers roundabout. “In- famous renegade” is, I believe, the name applied to Girty. Yet, taking hisiory as his guide and standing by | that he was not th» unnatural monster that for o many vears he has been declared to be. Wild and rough and resentiul, to be sure. Ha thought he had reasons to be all of these. But he was a fearless man and an honest one. So here in this adventure of early colonial fighting Girty shows himseif a dangerous enemy, now fighting with the Indians against the intruders, now tir the British against the colonials. Th~ cause for which the “renegade”| fought seems to sum the greatest of 3 accusations aginst him. The of devastation among the ladies round- about. Three women in this case might have mu-dered Raoul Featherstone. pos- sibly should have. To make it appear up to a certain point that this one of ths three, or that one, really did com- mit the crime, this author is driven to $o much of belaboring the subject, of inventing clues that a child would re- ject as negligible, that the story either balks entirely, or is driven bv main force to advance really against its will. These mystery tales make a business of involving the innocent in the most damning of situations or they would be damning if they were not so thin and frivolous. Now Anthony Wynne has written pretty 2cod novels of this strip~ —but not this time. ‘Gate Crz:shers” Face Difficulty at Casino “Gate-crashing” is not an easy sport to play in the French casinos, and peo- ple who have not obtained membership ave no chances to find their way to | the famous baccarat rooms of Deauville or Le Touquet. However, if you watch for a while the doors of these gorgeous temnles of money, you will see hundreds and hundreds of men and women going in and out without exhibiting a pass or saying a word to the silent guar- dians. But try to go in yourself with- out having paid the entrance fees: you will be rebuked promptly and decisively. But If you have once shown your e trance card. all is done and from now on you will be welcomed by your name: the “physiognomist” has put your name and your face in the files of his mem- ory, and never will he forget them. One of the most amazing faculties of Na- poleon was to keep in his memory the names of all the men he had m From that point of view, the Frenc casinos have assembled a good lot of Napoleons, who make unrelentless wa: on the “gate crashers.” Woman in Philippines Founds Religious Sec: In a Philippine province a new peas- ant religious sect called “The Society of Jesus, Mary and Joseph". has been of the writer as well as in his art. His | i*. the author gives a sidelight upon th~ | founded by an old woman who savs art, by the way, includes little sketches | character of this man which indicates | She is Mary, mother of Jesus, reincar- nated. Accordirg to the constabulary, why reported this, she claims the power to cure the sick and forgive sin. Al- ready she has 400 followers. mostly women and children and ailing men and the constables are on the watch for a fanatic outbreak. Among the saints worshiped by the society is Jose Rizal, pamphleteer of the Philippine revolution and martyr to the cause in 1896, when the Spaniards shot him on the sea wall of Luneta Park. where his monument now stands Have You Read This Remarkable Story of International Marriage? ALL THE CRITICS PRAISE IT “Daisy and her mother in their fine palace in Petrogr. room warm enough to be comfortabl hoddy Chicago quarters. are no less real and vivid ad, where there is only one than in their The mother, with a driving ambition that, united with her beauty, amounts to a form of genius, is a uniquely American creation.”"—Phil, Inquiver. FALL FLIGHT By ELEANOR GIZYCKA Author of “Glass Houses” Ath Large Printing $2.60 MINTON BALCH & CO.