Evening Star Newspaper, February 17, 1929, Page 32

'Society of Washington Artists Holds Thirty-Eighth Annual ‘ Exhibition at Corcoran Gallery—An Unusual. BY LEILA MECHLIN. HE Society of Washington Ar- lists’ thirty-eighth annual ex. hibition, which opened to the public in the Corcoran Gallery of Art last Sunday, has been the cvent of chief interest this week. It is a bright, colorful, pleasing display and not only gives occasion for local pride, but affords opportunity for real enjoyment—that is, for those who find pleasure in paintings and works in sculptus re. ‘The exhibition is not confined to the works of local artists, though these predominate, and as the prize awards witness, there has been no discrimina- tion in favor of members of the ex- hibiting society. For instance, the so- ciety’s bronze medal for portrait and figure composition was awarded to Ca- melia Whitehurst of Baltimore for a painting entitled “Child in White,” a painting which undoubtedly evidences competence on the part of the artist, and ability to eliminate detail, to set forth with great simplicity essential characteristics. The prize for and marine likewise went to Francis Speight of Philadelphia for a well ren- dered, but cxtremely dreary picture en- titled, “The Vacant Lot.” The prize for still 1Me vent to Joseph M. Plavean for a comp-sition entitled “The Blue Pitch- er,” and the prize for sculpture went to Hans Kownatyki for a self-portrait, admittedly well rendered and spirited. Both Mr. Plavcan and Mr. Kownatyki are exhibiting here for the first time. Honorable mention for portrait and figure composition went to Gladys Nel- son Smith for a portrait of & y ‘woman. Honorable mention for land- scape was awarded to Garnet W. Jex for a painting of “The Gorge Below Great Falls,” and honorable mention for sculpture to Margaret French Cres- son for her admirable portrait head of George Grenville Merrill, jr. A good deal of the gayety and charm | of this exhibition is derived from the still life paintings—paintings of flow-| ers and gay colored objects, now a fa- | miliar part of almost every current ex- hibition and welcome. Still life has al. ways attracted the painters from the earllest day to our own time, because | such objects possess so much Ilstent beauty, beauty of color, form and po- tential beauty of arrangement. The truth of this is fully demonstrated by & painting in the present exhibition by Ellen Day Hale. 1t is a picture of an old-fashioned white porcelain basket bowl of fruit, beside which have been dropped grape leaves and behind which is an interesting. woven fabric of red and white in decorative pattern—a beautiful arrangement, brilliantly ren- dered, with that assurance which comes from years of experience and that in- fl{"‘ which only’ the senstitive and the DOSsess. E Another very fine painting of still has been mnu-nmug by. Wm jar on a red-top table, realistic enough, but not too realistic, the brush work sensitive and significant, the whole elusive and yet virile. 2 1 a little painting of white cher’ productions; on guerite Munn's strong and fine rendition of Western 4 itains and desert; on Jameson's colorful, rich and altogether admirable Autumnal landscape; on Clara Saunders’ charming picture of two little girls seated on a sunny vine-coverel plazza, in which the Pll{.‘-?! light 5 most successfully inter- prel ; Centering this wall is a large, elabo- mte and unusual composition Bte- phen Hawels, “a di itish ter who has recently made Wash- bis headquarters. This is a pic- ks, Sast Aty ‘:oaup.&uwlzl; 3 rica,” realistic clearness, but the like—painting them wi accuracy, yet with a decorator’s sense of beauty. He has lately returned from a trip to the South Sea Islands, and has lived and painted much in the East In- dies and has traveled widely. The So- clety of Washington Artists is honored by his contribution. n Weisz, a member of the faculty of the Corcoran School of Art, is repre- sented by three works in this exhibi- tion—one a large canvas, a three-quar- ter length of a young fair-haired man, Blorne Egell, who is at present a student in the Corcoran School; another a small canvas of a young girl, Louise; the third of a young man, “Johnny,” broadly sketched. { the three the portrait of the young girl is perhaps the most finished, the most skiliful, but the portrait of Biorne Egeli is undoubt- edly the most commanding. In this the head is especially well rendered, but the hands are unnaturally large and promi- nent as they might be in a photograph somewhat out of focus. All of Mr. Weisz’s work, however, has rich, paint- ‘er-like quality. ¢ [Eleanor Parke Custis is exceedingly well represented in this exhibition by &' in the south gallery has been hung a Colorful Display. Brittany, one showing a group of Breton ‘women on the shore looking out to sea, an ambitious subject rendered with sus- tained strength. The other is more in her characteristic and familiar vein, a street scene gay with color, engaging in aspect. Mary Riley shows three landscapes, all of which witness to progress, in- creased skill, larger conception of sub- ject matter. One of these in particular is of a brown landscape with a hill in the distance, a touch of human interest added in the middle distance—simple but dramatic, atmospheric and big. Elizabeth Sawtelle shows a picture of a New England house on a quiet shaded street, broadly painted, picturesque, strong. J. C. Claghorn shows three out- door subjects, houses with foliage set- ting seen in sunshine and shadow, direct in treatment, sincere, significant. 8. Peter Wagner, who paints a good PORTRAIT BUST OF GEORGE GRENVILLE MERRILL, JR., BY MARGARET CRESSON. AWARD- ED HONORABLE MENTION IN THE EXHIBITION OF THE SO- l(él_:::;l‘\’ OF WASHINGTON ART- part of the year in Florida, is represent- ed by a picture of a group of shanties. | The one to the right has a porch, across | the front of which is hung the family wash, not primarily an engaging sub- ject, but one which has been made in- teresting through the artist’s rendition. In the center of one of the long walls unique figure ting by Eben Comins— a study in brown, a two-dimensional painting rendered In flat masses, almost in monotone. To the right and left of this figure composition hang landscapes by Tom Brown, Spring pictures subtle in rendering. Benson Moore holds prominent place sionists would have found delight, yet a manner quite his own. A picture of Washington on a rainy day painted at the junction of New York avenue, Pennsylvania avenue and Fifteenth street, shows Lewis Clephane at his very best, and at the same time the charm of our city when enveloped in gray mist with slippery shiny streets, a difficult subject, beautifully portrayed. Lucien Powell, whose works have al- ways been featured in the Society of ‘Washington Artists’ annual exhibition, shows a typical Venetian theme. From Alice Worthington Ball of Baltimore has | come a characteristic interior elaborately | painted. An excellent but smaller in- gerlor is shown by Netta Craig 'nlfktn-‘ on. Mrs. Zimmele shows two outdoor plc-‘ tures, one of a brook, presumably in the Berkshires, the other the edge of a park, | possibly near her Massachusetts ave- | nue home, | Susan Ricker Knox, who made a rep- utation for herself by paintings of im- | migrants, is resented in this exhibi- | tion by a well rendered painting of a Japanese mother and d which has been hung as a pendant for a colorful figure study by Mary K. Gibson, | Carl Rakemann shows a decorative | landscape composition, Burtis Baker one i of his best portraits, that of an elderly | man, in which personality is exceedingly | well indicated, & work strong and at tha | same time reticent, spiritual in quality. One of the novelties of this exhibition and one which will undoubtedly attract interest and attention, is an_elaborate | figure composition by Charles Dunn, rendered in modernistic manner, a pic- ture of a group of French peasants near the water’s edge, in which a woman is seen carrying a bucked of clams, while 2 group of fishermen stand by noncha- lantly smoking or talking. Like Mr. g‘u‘:\n's ut:eutnter hknown flfiuftrative ‘work, pal g has simplicity, character and directness. s o A modernistic work of little subjective interest is to the credit of Edgar Nye. In new mode are still life studies, flower paintings, by Marguerite Newhauser and May Marshall. Obviously it is impossible to mention all in a first review. There are excel- lent paintings in this exhibition by Mrs, Sleeth, Jessle E. Baker, Edith Hoyt, Francis 8. Watts, A. J. Schram, A. H. 1 0. _Rolle and others. The real pleasure of an exhibition is in discovery of interest, of beauty, of talent. There is a saying to the effect that we do not judge works of art, they Jjudge us, and that the old masters of today were the new masters of yester- day. The present exhibition, set forth by the Society of Washington Artists, is & joyous little showing in which one will have opportunity to judge and be judged, to enjoy and to prophesy and, perhaps, to acquire not only knowledge but _possessions worth having. This_applies to the sculpture as well as to the paintings, for though the rep- resentation in this fleld is small it is upheld to a high standard. Mr. Hans Kownatyki, who received the society’s bronze medal for sculpture for his self-portrait, as previously men- tioned, 1s represented also by a work en- titled “Devotion.” Mr. Bush-Brown shows his portrait of George Foster “HOPI POTTERY MAKER,” A PAINTING BY CATHERINE C. CRITCHER. on one of the long walls of the north gallery with a decorative painting of white heron. He is also represented by a picture of trees, late Autumn woods. Blanche H. Stanley shows a loosely painted but very suggestive picture of lilies and Elizabeth Mulhofer contributes in her accustomed vein a painting of a bowl of many colored popples—a work of amazing skill. Alonzo Ritter makes valuable contri- bution in a picture of a little white house surrounded by a white picket fence painted in a high key and in a two fairly large canvases painted in “LAFAYETTE HEADQUARTERS AT CHADD'S INCLUDED manner in which the French impres- Peabody. Miss Clara Hill exhibits two characteristic works, “Eve Looks at the Apple” and “Astra,” both possessing interest and charm. Mrs. Loulse Kid- der Sparrow shows portraits of her own son when a small boy, a portrait of a little girl, “Eileen,” daughter of Mr. and Mrs. Henry Parsons, both especial- ly appealing, and a portrait of Comdr. Albert Lals, Italian naval attache. Mr. Dykaar, whose work is well known in this city, shows a portrait bust of Mrs. Nicholas Longworth and also one of Senator Carter Glass. Clinton Ward, a new exhibitor, is represented by a work entitled “Paula.” From Chicago Angelo Ziroll has sent RD,” BY J. C. CLAGHORN. ONE OF THE PAINTIAGS N THE FXHIBITION OF E SOCIETY OF WASHINGTON ARTISTS, - 1 | and his fellows | “DANISH PEASANT,” A PAINTING BY BERTHA NOYES. an interesf self-portrait. Inclining to the simplicity of modernistic expres- sion, but very spirited and attractive, is a little statuette of Mme. Ivan Osier, Olympic champion fencer, by Carl C. Mose The jury awarding prizes this year was made up entirely of out-of-town artists—Edward W. Redfleld and Ser- geant Kendall, painters, and J. Maxwell Miller, sculptor. The exhibition will continue until March 10, which will include the week of the inauguration, when there will | undouktedly be many strangers visiting the Corcoran Gallery. * X ¥ X AT the Arts Club the works of two| local artists, Eleanor Parke Custis and Elizabeth Evans Graves, will be placed on exhibition this afternoon and | for ‘a fortnight. Both painters are well known and have won for them- selves distinction not only in Washing- ton but elsewhere. In this exhibition they are showing only water colors. ‘They will be the guests of honor at tea given this afternoon, at which Miss Mary G. Riley will be hostess. ‘There was to have been a third col- lection exhibited at this time, to consist of sketches of t life abroad, by Nancy Dyer of Providence, R. I. This collection was’to have come here from New York, where it was recently shown at Macbeth Gallery, ‘but so at- tractive did it prove to New Yorkers that by the time it closed practically every painting included therein had | been purchues. k- T Gordon Dunthorne's, in addition | to the interesting exhibition of water colors by Seward Hume Rathbun mentioned in these columns last week, there is now to be seen an'engaging group of small portraits in “colored plumbago” .and recent miniatures by Alyn Williams, for many years the president of the Royal Society of Minia- ture Painters, Sculptors and Engravers of London, who is again spending some of the Winter months in Wl.llgfilmm Mr. Williams has not only attained great distinction as a miniature painter, but as an authority on miniatures, hav- ing studied the subject historically as well as technically most thoroughly, and being acquainted with the world's great- est collections, as well as many works in private ownership. He has numbered among his sitters some of the leading representatives of the British aristocracy, as well as those prominent in America. He is ally, however, the artist, inter- his work, appreciative’ of the work of others, desirous of the develop- ment of interest in and appreciation of art, striving for something larger than personal ends. Mr. Willlams has lately developed a type of portrait drawing which is extremely pleasing, portraits a little larger than miniatures but much small- er than the ordinary portrait drawing. ‘These he has done in colored crayon, chiefly black and white, with just a touch of color to enliven. They are ad- mirable lkenesses, intimate and per- sonal, and they come within the range of those of moderate means. The ob- ject of the present exhibition is to in- troduce this peculiar style of portrait- ure to the Washington public. It is a style which should prove popular. * ok ok IN connection with a founders’ week celebration, W. B. Moses & Sons, marking the sixty-eighth anniversary of the establishment has arranged a small exhibition of paintings in a gallery on the third floor. This exhi- bitlon includes works by some of our well known American painters—George Inness, J. Francis Murphy, Willard L. T Metcalf, Carl Rungius, E. Irving Couse Guy and Carleton Wiggins and George H. Bogert, all represented in the Evans National Gallery collection. ‘To have paintings of this type shown in & department store is not a new thing, Twenty-five or 30 years ago the ?:lkih?lr) 1&'%"”‘1 Artists held sev- e ns in a specially arranged gallery at Woodward & Lothrop’s. Last year a little exhibition of local work was shown here at Hecht's. But it is an interesting effort on the part of department store proprietors to demon- strate the place of painting in the home, to_emphasize the value of con- temporary work. A number of extremely notable ex- hibitions have been held in depart- ment stores in New York during the past year; in fact, at the present time the Soclety of Illustrators is holding its annual exhibition at Lord & Tay- lor’s in that city. Therefore it 8 gratifying to Washingtonians that one of our oldest local establishments fs not only following the lead of others, but is upholding a local tradition and endeavoring to uphold it well, * K ok % A COLLECTION of water colors of Oriental subjects by Willlam Spencer atopoulos has lately been placed on view in the National lery of Art, United States National Museum, whiere it may be seen until the end of the month. Herriot, Storm Center, Returns to” Do Batile —{(Continued From Third Page.) SRl hge) Which shaped Herriot’s humor. When dlsclellne is so severe it is bound !: break out occasionally. “Normalian {r;‘lenl:;‘ km;w- nnt ‘:h‘amm It inspires of practical joke that men hoast about for years. ‘Indeed, Herriot ve written a book to | tell of their pranks, and the revelations | are staggering. They—future ministers | —poured water down on visitors’ hats. | They dismantled one another’s rooms. | They showed their aptitude for states- manship by playing practical jokes on government officials, Wrote Parodying Review. Herriot does not confess any partici- ( pation in these hoaxes, but he does con- fess that he wrote a sort of musical review sketch parodying Brunetiere— one of the leading critics of his day— and that he perpetrated several other stunts requiring less intelligence. During the war, when everyth! Was blackest, the city of Lyon undg‘“ Her- riot’s direction, carried on as usual. When the war was over and the men returned, Herriot did the biggest thing of his municipal career—he had the city ! hire the unemployed for the construc- tion of parks, homes, exhibition build- ings and other structures as if there were no crisis. The danger of the dole | was avoided. The new buildings proved | of great value, esfecmxg for housing | the mayor's favorite hobby—a recon- i stituted Lyon Fair after the model of | the famous medieval mart. To this | day Herriot could sell the Lyonese as | slaves and tney would obey him. | In his international policy Herriot i followed equally direct methods. When he became premier of France his coun- | | try stood alone. England was disgusted by the invasion of the Ruhr; Germany ' was outraged. Before Herriot resigned, | however, a new tone prevailed. He had | started the feeling which led to the Dawes plan and to the Briand-Strese- mann pact at Locarno. - Although he falled to arrest the fall of the franc, his establishment of & basis for the present peace was the necessary prelim- | inary to stabilization. Met Germans Half Way. i What were Herriot’s methods in in- ternational policy? He threw over all cant and pride of victory and met the Germans half way. He was the first | French minister to enter Germany after | the war, He knows that peace, if 1t is to be | permanent, must be built on under- standing and sympathy rather than upon treaties. He was the first French | minister to speak from the lecture plat- form with a German author after l.l'ua| war. On the fiftleth anniversary of | Victor Hugo's death, when an opportu- nity of international homage presented itself, Herriot invited Blasco Ibanez and Thomas Mann to officiate with him at the exercises. His ploneering for Euro- pean peace happily unites Herriot’s po- litical and literary interests. 1s it abnormal that a man of Herriot's strenuous, combative nature should try to bury the big stick? rriot himself cxplains it by saying that there are so many other combats in political life , that war seems only &’ factor. { ,_“Is there anywhere,” he says, “a com- bat more fascinating, more arduous and more noble that that against ignorance or the social LB THE PUBLIC LIBRARY Recent accessions at the Publie Li- brary and lists of recommended reading ::l,! appear in this column each Sun- Politics. Beaverbrook, W. M. A. Baron. Politi- clans and the War, 1914-16. JU45-B38p. Carter, J. F. Conquest; America's Pain- less Imperialism, JU83-C243. Knight, M. M. The Americans in Santo Domingo. JU9725-K74, . The Chinese Puz- zle. 8. The New Persia. Treat, thcn?;l::r East. JUG-TTL L. T, B. C. rnia; of Ireland. .vmz-v; 1:.‘ .. e Biography. Barker, A. 8. Everyday Life in the Navy. Bikle, Mre, L Lry y o e, Mrs. L L. C. George W. Cable. E-C11 aehudinia Garland, Hamlin. Back-trailers from the Middle Border. E-G186a1. Goddard, H. C. W. H. Hudson; Bird- man. E-H868g. Goldstein, H. 8. ed. Forty Years of Struggle for a Principle. E-F523g. Jorgensen, Johanges. Saint Franco d’Assise. 1926, E-F846j.F. Lucas, E. V. The Colvins and Their Friends. E-C7201. m:nny,‘ 3A. A. W. Sir Robert Peel, . L. E. H. Laura Bridg- man. E-B750r, The Chevalier Shellabarger, Samuel. . E-Bsh, Mary Anne Disraeli, Literary History and Criticism. Green, Mrs. E. A. (L). The Negro in Contemporary American Literature. ZY83-G82n. Marble, Mrs. A, R. A Study of the Modern Novel. ZY-M327s. Overton, G. M. The Philosophy of Fiction. ZY-Ov27p. Wells, H. W. The Judgment of Liter- West, Rebecca, pocud trange ‘est, a, pseud. The 8 Necessity. ZV-W527s. Yale Classical Studies, V. Songs. Drew, W. S. Notes on the Technique of Song-Interpretation. VXV-D82n, Dykema, P. W., comp. and ed. Twice 55 Communit; ngs for Treble Voices. VZV-D993t. Faxon, G. B. TFavorite aonguhnw- imed and VUT-] Schubert. ¥ 5 Mnm‘ Additional Songs ul . P, di n! for High Voice. VZV-Schifb. Schubert, F. P. Additiont Whils, 6. 6. comd. Bt iscs goiri, . C., como, o uals for Solo Volce, VZV-WSBSL. Fiction. Baroja y Nessi, Plo. The Lord of Labras, Bennetf, Arnold. = Accident. Dane, Clemence, , & Simpson, Helen. Enter Sir John, Joseph and His Freeman, H. W. Brethren, rt. Pit. Bose, Ifll?'l Daughter. m v, iy, . % X 1. 2¥31-Y 132, An Autobiography of the Wandering Jew—Fiction From Several Writers—“Strange Corners of the World,” | BY IDA GILBERT MYERS. | | 1Y FIRST TWO THOUSAND YEARS: ‘ i Auwbio'nglely of the Wandering Jew. By orge Sylvester Viereck | and Paul Eldridge. New York: The | Macaulay Co. | ARRY thou till I come.” These 66 words of Jesus gave rise to | the legend of the Wander- i ing Jew, a theme that for ' twice a thousand years has held the common mind and engaged she best powers of genius itself. | The story runs that one standing near to the Cross took this imperative | to himself and accepted the mission of waiting for the second coming of the { Messiah. In the course of time this man became & miracle to the few. To the many he stood as a figure in the ‘pliable and accommodating body of 'egenrhriy‘ lore. | Here he comes again—Isaac Laque- {dem, Cartaphilus, possibly Ahasueros | himself, King of Persia, who dedicated , himself to the deliverance of the Jews. 'Whether one or all of these, or none {of these, here is the Wandering Jew. | A stupendous tale which, in illumi- ! nating intent, these authors put into | the words of the Jew himself. In this | recital, however, the story is much more than that of going over the face of the earth, more than the authentic history that such a course would per- mit, more than the quest of abstract truth even, or the searching out of man’'s ultimate destiny. Including all, or much of this, the story turns di- rectly. about here, facing in upon the spirit, the powerl, the capacities, the | hidden understandings of this imme= morial wanderer. To be sure, here, as in other treatments of the theme, his~ tory is set out in certain of its large | not” so_thoroughly stewed in another aspects, in some of its deeper signifi- cances—set out, always, in the person, the experience, the effect of Isaac Laquedem or Gartaphilus, himself upon the current life at whose center he was, for the moment, standing. So from age to Cartaphilus tells of himself, him- self in the midst of changing courts and = Queens and loves, the passing of one kind of power into an- other—he instrumental, or he an in- spired and understanding onlooker. In s respect the story is not strikingly different from others on the same sub- ect, except that it is, without any s whatever, always swift moving, alive, urgent with the press of this great matter. The world has moved on, however. ‘The Wandering Jew must have moved with it. How, for instance, could a man of so great an age have carried his lusty and conquering part through the years and throughout the then known world? 'he Wan n;f Jew is young, peren- nially ing. He had to be. How about 1t? Steinach. Asked, Steinach de- clares that in the shock of that moment beside the cross under the excitement of that terrible command to “tarry” the Jew underwent mfi maybe a complete derangement of glandular system, a shock that purged away, permanently, g“clumr, and that Laquedem, automatically, came upon the of perpetual youth—that boon sought by all the ladies of the modern day under the tutelage of this same man, Steinach. Then, in another partial explanation of the man, these authors summon Mr. Freud to the serv- ice of the restless Jew, in order that his long recollections may explain the race ividual shaping his outlooks and determining his behaviors, It is sheer art-that is operating here. Unthought- fully, one might expect this modern turn to throw a shade of the ridiculous over on life to him lot the ‘kind of that can con- struct this tale, give it credibility of ef- | fect, season it with irony some and telling, round it to the meas- ure of current acceptance, reanimate a g Jew, making good for—well, nobody knows how the world over. and an experience in life are waiting for you here by way of this legend. x k%X chards, author of “Caviare,” etc. Illustrations by Tom Van Oss. New ‘York: Harper & Bros. NOW and then we come upon an ac- claimed “best seller.” In a short time its author is advertised as one of the pleasure seekers at Monte Carlo or thereabout. We ha to associate literary success with the Mediterranean coast — “The Coast. of lgn( about inert, they seem to us, in & slow and ul girding up of their . It turns out, by way of this author, that we are all wrong. Here he takes us in hand for a recast of this fallacious notion of the ‘“ Pleasure.” As matter of fact he pro- vides the way for us to go along, for us to see for ourselves just al lurement of this famous side really is. Definitely he ts the way, quite in the method fessional guide—not really for taking them, about the attraction of this point and the blemish of that one, he immediately gets away from such usefulness and lapses, eomrombl{. into reminiscent moods about some interest- .| Ing man or other who sought delight at Cannes, or Nice, or res—and then to Monte Carlo! Once t| the adventure settles down to the prime business of Monte Carlo. The approaches to this given in real detail, ?aa needed for ?&nn- on. All about gambling humor, and, 1 ‘The pictures going al here talk quite as zxprenlvely‘:l‘dozin‘m print itself. The whole is useful, if you insist on | having & book useful, but utility is not It is adven the prime purpose. 3 mild adventure, turned over to you. * ok ox ¥ THE HORNS OF . Arthur Train, author of “Ambi- etc. New York: Charles can reader comes by way of the hero of the tale. That umunnmmw boy that lles in the subconselous of | Sty - | then, under urgencies that the printing by these two men is, you see, just tion that is whole- | times, An | an ultimate An_experience in art | beneficent tl 'm':n?om OF PLEASURE. By Grant ve come, therefore, | ,p, for another tri- | t! A Travel Book. about truant boy can meet and conquer. Bril- | liant in its colors, dashing in its action, rossing in the native facts and im- plications that go along with the main issue, there is, nevertheless, the effect | of forced situations when Mr. Train is making his connections between the home interest and that of Africa and the Foreign Legion. He will declare this | to be nonsense, and so will others, with Africa only across a negligible h%ond. [} g o ; they would be right if Arthur Train had clement and atmosphere as to make these literary innovations of his appear like — well, ‘like the old-time Sunday suit. To be sure, the man has to have a change. He cannot forever hang to | the Tutts. Of cours> not. And ¢ a good story, finely built and under- standing in its measures and moods— or will be when we get used to the new attitude. Read it. You'll like it. It is a .1 apologize for fidelity to the older ones, a fidelity that is rather niggardly toward the newer ventures. * ok k% STRANGE CORNERS OF THE WORLD. By J. E. Wetherell, author of “Flelds of Fame,” etc. Illustrated. New York: Thomas Nelson & Sons. NLIKE the usual book of travel, this one lets you begin where you please, stop when you are ready, start on again from a new point. For it sets down no regular line to make use of, since it is, in effect, not travel at all. Rather it is the culling from many Jjourneys—places that are off the beaten irack, corners that offer unusual in- ducements, spots of isolation and re- treat. The first step, with me here, was to look down the table of contents to see how many of these locate. Not many. You ke Little P.o'gl: of the Big Forest,” “The Land Without a Woman” (interesting and surprising), “Where Black Rules White,” “A Sea Without a Fish.” I told you. However, there are other topics to which you will hold the clue. But, whether you do or not, you will find in the book as a whole many new things to consider, many new customs to ponder, many strange places to admit to your acquaintance. More than this, you will come upon these interesting and pleasurable “si corners” through the author's mood of personal interest and enjoyment, through his clear way with words—a way that slips into rhythms and poetry many a time. No wonder, for if one has a verse inside him anywhere, such “corners” as man of these are cannot fail to bring it out. Interesting, new and clearly worth one’s while. * X k% CALIFORNIAN COPY. By Weeks. Washington, D. ington College Press. hardly seems as if any half century F. C.; Wash- most of the time, Mr. and owner of a paper in the West for a part of the time. Yet this occupation is changed, here and there. now and could not meet. Sometimes this and man were at work on many sorts of jobs, but he was, nevertheless, by and large of the newspaper frater- nity. The things that happen to h%l the severest engagement that a)bution to modern criminology instead? Readers do, in their novel reading, de- serve some consideration. BOOKS RECEIVED TRUTHS AND FACTS OF THE WORLD WAR. An lluminated Map. New York: Neo-Techni Re- search Corporation. SIXTEEN AUTHORS TO ONE; Inti- mate Sketches of Leading American Story Tellers. By David Karsner, New York: Lewis Copeland Co. AUCTION BRIDGE FOR BEGIN- NERS. By Milton C. Work, author of “Auction B Complete,” etc. Philadelphia: John C. Winston Co. PROHIBITION STILL AT ITS WORST. By Irving Pisher, professor of econo- mics, Yale University; assisted by H. Bruce Brougham. New York: Al- cohol Information Committee. OLD TRAILS ON FIRE. By Julius Reuter. Cleveland: Odin Publish- ing Co. DESERT MAVERICKS; Caught and Branded. By Eve Ganson. Santa Barbara: Wallace Hebberd. NATURAL CONDUCT; Principles of Practical Ethics. By Edwin Bing- ham Copeland, dean, retired, of the College of Agriculture, Uni- versity of the Philippines, etc. Cali- fornia: Stanford University Press. THE NEW DAY; Campaign Speeches of Herbert Hoover, 1928. California: Stanford University Press. THE YELLOW BOOK: a Selection. Edited by Cedric Ellsworth Smith. H"Amord: Edward Valentine Mitch- ell. GRIEF. By Leo F. Schmidt. Cedar Rn&ldl, Iowa: Published by the author, DO WE AGREE? A Debate Between G. K. Chesterton and Bernard Shaw, with Hilaire Belloc in the Chair. Hartford: Edwin Valentine Mitchell. THE FLIGHT OF GUINEVERE; and Other Poems. By George V. A. Mc- Closkey, author of “Lyrics.” Sec- ond edition, revised and enlarged. New York: Authors and Publish- ers’ Corporation. THE ASTROLOGICAL BULLETINA; an Every Day Counsellor. Los Angeles: Llewellyn Publishing Co. THE COMMANDERS' TOUR, Septem- ber 24-October 11, 1927; in Connec- tion with the Sacred Pligrimage by the American Legion. ANATHEMA; Litanies of Negation. By De Casseres. With a Eugene O'Neill. New Gotham Book Mart. WAR AS AN INSTRUMENT OF NA- TIONAL POLICY; and Its Renun- ciation in the Pact of Paris. By James T. Shotwell New York: Harcourt, Brace & Co. THE PEACE PACT OF PARIS; A Study of the Briand-Kellogg Treaty. By David Hunter Miller. New York: G. P. Putnam’s Sons. SURVEY OF AMERICAN FOREIGN 8. By Charles P. TRAILS. Manley Buck. Boston: topher Publishing Cao. OF New York; Isaac Pitman & Sons. DOLLARS AND SENSE. By Charles E. Carpenter. With a_ preface by mate good destny Tor hmeelr, A lor . hundred cases and more in this record ve to him that if in any one of them calamity “Woula Have " betaen b ve len L Persistently he follows a and i,y unfeeling world or against his own weakness itself. A youthful vigor, a hopeful outlook claim this writer, who goes back through an adventurous past, partly in his own behalf, in larger part for the sake of the rest of us. * R X X MY WITH BANNERS. By Ruth Comfort Mitchell, author of “Call of the House,” etc. New York: D. Ap- pleton & Co. unusual theme. Broadly looked y. In essence, however, this is a nar- rative of the revival modernized to meet he efficiency of current business meth- ods and projected besides in either a consclous or an unconscious hypocrisy. of "};fl““’“‘,i rflel‘sion is the on: that may ce self-deception. So, hypoc- risy is an accusation to hold off from, pretty generally, when passing judg- GOD? OR LUCIFER? By Cecil Doyle, B. Sc. Boston: The Stratford Co. ENCHANTING DANGER. By ‘THE iy Vera Wheatley, author of “Devices and Desires,’ " etc. New York: E. P. Dutton & Co., Inc. ‘THE NEW WORLD: Problems in Po- . By Isalah Bow- Geographical Soclety of New York. Fourth edition, with 257 maps. Yonkers-on-Hudson: World Book Co. GHOST HOUSE. By Conde B, Pallen, author of “As Man to Man,” etc. New York: Manhattanville Press. PLAYS. By John Galsworthy. Twenty« five Dramas and Short Plays. New York: Charles Scribner's Sons. Scientists on Crusoe’s Island. ‘The Island of Juan Fernandesz, fa- Vi Chile, the Alf th it is only 370 miles ‘West of Valpariso, Chili, the flora and v Wi P ment upon the sincerity of one's re- ligion. However—this is the s of an ennfim, & young and beau ‘wom- Eregations of Deople. - Sacces, corainly gregal o . material profit follows her, as does a g success in the saving of souls. A slip of a girl who may not be con- scious of the real quality of her meth- ods. Let us hope. With her is & mother—grasping, hard, noxious. With her also is a little daugh- ter. And it is upon the daughter that the story has to depend for anything like a passable outcome. I don’t know how it came to pass, but the little girl grows rather wholesomely and sturdily through the masze of conscious and un- conscious irreligion with which the whole is compound. You do not insist on the pleasant story? Of course not. You couldn’t, not with two eyes and two ears to use, with two feet to walk about upon. Still, you say, reasonably I think, that a completely sordid narrative is as as one that lifts itself into a re- sinlessness. T is pocrisy _and exist? Probably, but not so unalloy with good in single individual, or in any two or three. Overdone, over- weighted, unconvincing. And if true— if in an abnormal situation just true in every respect—why, & novel on the subject? Why not a formal contri- —————— Yorke Gallery 2000 S Street Exhib‘ition X do not hy- d and sheer Yilainy Jean Negulesco Roumanian Court Painter insincere, ob-{ &0 and animal London will soon have the biggest h building in ti and selling of ing six stories and lite.