Evening Star Newspaper, April 7, 1929, Page 32

Persian Printed Cottons on View at the Corcoran Gallery. Paintings by Cora Brooks and Etchings by Robert Fulton Logan Attract the Art Lovers. BY LEILA MECHLIN. HE little exhibition of Persian rinted cottons which the Eounea ey at present e - * tinctly out of the ordinary and of very genuine interest. Thirty-two or 33 pleces lent by F. 8t. G. Spendlove are shown, of which the majority were roduced during the late eighteenth and ineteenth centuries. Of the entire group only three or four modern prints are shown, and while these have decora- tive quality and some of the fine scharacteristics of the earlier produc--| #ions, they are not as well done and they do not attain as high a standard ~@8 works of art. Why? Partly be- cause, in all probability, they were pro~ ‘duced with commercial intent, the market in mind, and secondarily they Te-echd an art of the past, therefore «lack individuality of expression. But swith the old works hidden or unknown these newer works would be regarded, and rightly regarded, as estimable. It is difficult to realize some j of these beautiful fabrics printed in { such ‘interesting and intricate designs § were woven and printed about the time fof our Revolutionary War, and that * ithey have been in constant use ever § since, washed and re-washed, hung in { the sun, employed for all sorts of pur- ifises. doubtless, not merely as hang- fings, as they are now seen, but as bed covers, curtains, table covers and the ;l\ke. ‘They were colored, however, with vegetable dyes and have, therefore, i proved fadeless. i In pattern they follow to some ex- i tent the designs used in Persia for iruzs. for shawls, for woolen fabrics. {In almost every instance each plece fhas an up and down, and though the i patterns are to an extent conventional {they make use of naturalistic motives. § Oftentimes these motives are flowers, ;much conventionalized but still recog- {nizable. In some instances animals and birds are used. In almost every case ithe lines are rhythmical, flow asily fand gracefully. The semi-natural .is {charmingly associated with the purely {conventional, and certain motives, as {in » composition of music, run through fan entire design, but take on numerous zdlflefl.ng forms. Comparatively few fcolors are used—red, blue, green and fbrown. The reds and the blues are fparticularly handsome, rich, resonant, tbut never too strong. ! The printing, it should be remem- ‘hered, was done by little blocks cut by hand, but in the older designs it is almost impossible to discover where Ithese blocks were joined, or the least fttle variance when one was imposed upon another, evidence of remarkably #killful craftsmanship. The countless tience, the endless labor that must ve gone into the making of each one of these pleces can hardly be reckoned, d yet even now they are not costly ond reason. 1 The willingness to givé so much time #nd thought and labor to the produc- %fon of something for use in order to zdd to its beauty is an additional proof of the cravi of mankind for this lement in life. Cotton dyed in a single golor would have been quite as useful $s thus beautifully patterned, but the tsmen took delight in patterning, light not only in the result but in the fereative effort. It is this which makes %hese common cottons works of art orthy of display in an art museum. ey speak to us of the past; they ve a lesson for us in the present; ghey are intrinsically beautiful. * ok ok X BILDOM does one see a more engag- ing group of contemporary paint- gs than that by Cora Brooks of ladelphia, now on view at the Arts ub of Washington. These are works oil, fair-sized canvases, fresh, color- skillfully painted, with modern tness but a traditional feeling for Mp to date, these paintings possess beauty of color and form which always and always will induce on the part the onlooker pleasurable reaction. Quite a number of these paintings of still life and flowers. One shows group of pink darwin tulips in a ise blue vase with hly glazed another a pot of ese pri- uls; & third is an elaborate composi- n grapes and apples, manifesting the unitiated the pure beauty to be found in color, in combinations of form. d after all, this is the charm of all till life painting that gets beyond the tudent exercise and becomes a work f art. It is not the thing that is done ut the manner of its doing, the ar- ngement, the color scheme, the in- ferpretation of light and shade, the lay of atmosphere. £ The Newark Museum, which. believes n making its visitors e to time set forth exhibitions con- decorative quality genuine charm. They will be on view for another week. * ok ok % A'l‘ the Arts Club, on the second floor, are now to be seen water colors by Clara R. Saunders and etch- ings by Benson Moore, both of this city. Miss Sa shows heads and still life chiefly, with the addition, of a few landscape sketches. Hi are almost, if not quite, life size, are broadly rendered and are uncommonly effective, painter-like in execution. But her still life subjects have a particular lAnurest m:ml chatn:‘ u‘fgfl:‘fk :.wm mong these, most perhaps, are a number of large studies of Ilies, the beautiful “speciorum rubum,” which in recent years has become such a Mid- summer garden favorite. These are rendered by Miss Saunders with ex- that they retain in her transcriptions not only their natural form and color in all its splendor, but also their elusive, almost exotic characteristic—the sug- gestion, as it were, of fragrance, of fragility. * ok % K ENSON MOORE has made an en- viable reputation for himself, self- taught, as an etcher, and he has wisely chosen to etch that which attracted him and for which he had material at hand. Many of his subjects, birds and animals, he has found in our Zoo, but his transcriptions show quickness of perception-and skill in notation, Ani- mals do not pose for the etcher. Most interesting, perhaps, of the plates: which he is now showing are those in which groups of animals ap- pear, groups which are well composed, decorative as well as veraclous. But in etching, as in other flelds of art, the subject is only the beginning. Unless the artist has full command of his medium, unless he has something to say, a personal message, the result is in- signficant. In the use of etching as an artistic medium, an autographic expres- sion, Benson Moore has gained through industrious and intelligent effort a large measure of mastery, genuine skill. * ok ok ok ' T Gordon Dunthorne’s there is now to be seen a collection of 35 etchings by Robert Fulton Logan, one of the foremost of our American etchers —one who has acquired h stand- ing not only in the United States but abroad, where standards of judgment are most exacting. Royal Cortissoz, one of our leading critics, has said that “the first merit of Mr. Logan's un- commonly excellent plates resides in their firm, pure draftmanship,” and, has called attention to the fact that “his line is strong and decisive,” that he uses it with true architectural sym- pathy; that he is not afraid of em- phatic statement; that he is, in short, “one of the most richly vitalized of recent architectural etchers.” Mr. Logan is one of the few etchers today who produces large plates and retains in them the intimate quality inherent to plates of smaller size. This was true of Duveneck, also, and there is quite a little resemblance between the work of Logan, the contemporary, and Duveneck, the past master. That Logan has attained extraordi- nary technical dexterity is evidenced by one of his church interiors, “Vezelay la Basilique,” in which in the f an elaborately carved screen in stone is seen, and beyond stretches the long aisle leading to the great window—a gigantic subject embroidered, as it were, elaborately, with detail and yet that it retains unity of effect. Notable also for strength and merit are his “Le Pont Neuf” and “Notre Dame, Ile de la Cite,” the former especially deco- rative, the latter, tro:n an unusual poin however, i Haad subjects, ceptional breadth and sympathy, 80{ ciation wif “which is inescapable where it exists and which cannot be introduced or felt where it does not. Mr, Logan's work has a substantial quality, a quality of sincerity, of veraci- ty, which gives it permanent value. It is, one might say, scholarly work, not, as was er’s, subtle, elusive, tem- to ould be noted, however, that some of this sub- tlety does show - in Mr. Logan's drypoints and in particular some recent landscape subjects, landscapes in which tree forms are dominant factors beauti- fully indicated. It is & thing to be able to see m;:h work d“ Rozrt ’Pulm lhnfiln‘: etchings and drypoints, for they help establish standard, they give a measure of merit which will safeguard, in th future, against error of judgment. Furthermore, for the fortunate they are enviable possessions, Not a'few are al- ready out of print. R Tnl most modern of all the modern- ists that have exhibited recently in Wi n is Newman, who is showing paintings in oil and water color from April 1 to 20 at the Yorke Gullery, 2000 8 street. Mr., Newman, as was noted in these columns last week in a preliminary ‘an- nouncement, is a Russian by birth, was brought to this country when 10 years old, and studied at the National Acade- my of Design in New York and at the Educational Alliance Art School. His itraining at the National Academy was essentially conservative. It was not until he entéted the Art School of the 3 “JOE PYE WEED,” A PAINTING BY CORA BROOKS WHICH IS ON VIEW AT THE ARTS CLUB. . Educational Alliance that he began to work in an individualistic manner. The majority of his paintings are of land- scape and are done after the manner of the primitive and untutored, with chief ante‘;u‘ in pattern, design and organi zation. Recently Mr. Newman has become much interested in the rendition of sur- face indicating variety of textures. Undoubtedly when a student at the National Academy of Design he learned to draw, but he has skillfully unlearned since then, and gives to accuracy of draftsmanship little consideration. He paints, he says, what he- sees and'the way he sees it, and his works in the new cult have found favor among.those who look for novelty and who di merit in spite of halting rendition. One of his paintings, entitled “Vad! bee: by the rendered with such skill and simplicity | lines “TAOS FARMERS,” AN OIL PAINTING BY CATHERINE C. CRITCHER OF WASHINGTON, WHICH HAS BEEN PURCHASED FOR THE PERMANENT COLLECTION OF THE SAN ANTONIO ART MUSEUM. THE PICTURE WON A $500 PRIZE OFFERED BY THE SOUTHERN STATES ART LEAGUE. President’s Power in Co Under Crucial Test Next Month BY FREDERIC WILLIAM WILE. ERBERT HOOVER, du April, will face the first cru test of his statesmanship—his ability or otherwise to “get on with Congress.” Investigation by this writer among nsible Re- publican leaders on c-%ln Hill dis- closes a surprising-unanimity of belief that the President and the incoming Seventy-first Congress will “hit it off” men that in his ite House occuj Anon!lholdwnsmhnll with his capacity to deal with them. The testing time is now here. Choice of Newton. till another symbol of Hoover's de- fellow- opinion the next t would from the start. Senators and Represent- | ton atives mdm‘;:e h:illd t.:hu::l:l Hoover r:; e W a dic , far as the White House and an" special session of has converfed for A course, outline some of h principal issues the session is to tackle —farm relief and tariff revision. But no Rooseveltian big-stick or Wilsonian big-club is to be brandished by Mr. Hoo- or McNary-Purnell, or Mc liams agricultural bill (whichever it is to be), or the Hawley-Smoot tariff re- vision act will not_typify “Hoover pol- icies.” They will. But they are neither of them to be “Hoover bills.” They will originate where the Constitution re- quires acts of Congress to originate— in Congress. The members of House and Senate who will, respectively, be responsible for the bills are pretty thor« oughly acquainted with the President's views, and the measures, as presented o will refleet those views. The farm rellef act, for instance, will B emtionite Had.ihelr day i court eqpalization! eir day col l:v:hle ‘Kansas City convention, witich nominated Hoover. They were defeat- ed, 3 to 1. The Republican party fought and ‘'won the 1928 campaign on an anti- equalization fee platform. The bill will accord with that victory. are to free ‘list. The disposition is to give agriculture nearly it feels it needs to raise he was ta- tive John Q. Tilson of Connecticut, the majority floor leader in the House. The then :I.llm pwen‘ t. It is plain gen ly a . 2 now. Hoover wanted to post himself puf full course of sprouts with regard to things on which, because of his' past hm‘: career and he himself to be the year, when Hoover was Presid elect, Col. Tilson felt justified in telling Jaffa, on the road to Bethlehem. He has painted to please himself, and in so doing has, it seems, pleased 'certain others. 5, His water colors are nmwhm; Hlar in spirit and style to his little more direct in hant less exact in di appeals to him, uine and comms Mr. Newman shows but one figue study, a n&ofinfl of ‘& woman, very boldly rendered, very si but homely, extremely' homely—not with the rude- ness of brutal , but rather of distortion—form without spirit, 'eruel! "Bu\l:i-.fir Newman is an g upon. The bitter memories of the Hoover-Watson presidential primary of last year are as forgotten as if they had never been. “Jim” is ready to go to bat for the administration 100 per cent. His leadership of the Senate provides him with a genuine opportunity, and he is going to it, his friends insist, with unalloyed enthusiasm. In Senator Fess of Ohio Hoover will have a Senate whip ready to do or die for the White House as valiantly as Watson will. Just before the late ad- journed sine die Representative Tilson in a brief speech reviewed interestingly | 8904 the records of cotemporary Presidents in “getting on with Congress.” It will be valuable to compare President Hoov- er’s approaching acid-test with the ex- periences of his forerunners. Of these | Col. Tilson said: “Whether the President of the United the | in the reach of all. through much of his support of even his own party gress, and both he and the country suf- fered from it. McKinley, by reason of thafl‘;t that he had served for many whom known intimately during his service on Capitol Hill. During the Roosevelt ad- ministration that dynamic individual used such persuasive powers as he had, m‘t’it I‘ very‘ :mlm‘:ble degree otkn;m port from the people, to help worl will. President Wilson ruled at first sary for conduct of the war. o t Harding, fresh from a term in the Senate, where he had es- live thoroughly to test out how effective his policy of working with ‘would prove to be. Many London Shops “Dora,” that 'set of grandmotherly Emil Ludwig Writes of the Mediterranean Shores—A Sur- ! passing Sermon‘in “The Great Galilean”—A Number of New Novels. ol A d | & youth, who embodies Rome. that call, the old Egypt that beckons, the new. a reader the most capti- Ludwig's search for the battlefield of ancient Troy, for his trail of Helen under the guidance, in of old Homer himself. Under the guidance, in other part, of his own countryman, Schliemann, who dug out of the ground | in that age-old romance of two men and & woman. This you will concede to be the best story of all, it may be by virtue of the fact that your own poor struggles with Homer’s text have given it & personal touch. The romance o; the o] looking ward all his life to the pursuit of un- earthing Helen, with pick and spade, of setting her tremendous affairs above ground in broken stones and crumbled shard. In following his dream, Schiie- mann left house and home and frau, to take on a Greek wife who could enter into his project by way of her native speech and a lifelong touch with the spot under which was fought the war of Helen's making. This sounds like a modern story, as it is in all but the exact pattern of ways and means. Its spirit is as timely as the dawn of this April morning. However, you will on to many another point of absorbing interest, in this fine blend of science and romance. It is all enjoyable, stirring in its effect of rebirth for many long- forgotten adventures of the human in his en of being human. Each g:tureo this past is a crystal concen- tion, is a jewel flash of light and color. * k% % THE GREAT GALILEAN. By Robert ‘x;oe-hle. Boston: Little, Brown & OBERT KEABLE was the son of an English clergyman. He him- self became a minister of the gospel, pmchln; as a young man on the streets of London and, later, going out to Africa as missionary. For reasons 0 Him;: onle assumes, he left the ministry, but he did not cease to preach. Indeed, “The Great Galilean” will by many, no doubt, be counted a surpass- ing sermon. v Robert Keable was a scholar. It is largely by way of research and learn- ing that this book came into being. Yet, it is a simple projection, well with- Its great value lies, it seems to me, in its orderly treatment, in its excellent organiza- tbn—-bothc‘m“ elements of simplciity and ‘The author makes a study of Jesus from three points of aj ‘There the |3 "frst a review of what Mr. Keable W] grew of hearsay, of actual contact, of recol- lection and then of the whole sum of second-hand information. Again, there T is a re-survey of Jesus as history took account of Him. Here is a re-examin- d ation of the period in which Christ was born and of his work later, and of the events that rounded the short life into an earthly tragedy. At this point the author summarizes the status it historical research at that period, its means and appliances for secu ac- curate and lasting reports. Again, the study brings forward the theological teachings. about the Savior as these have crystallized within the purpose of the tfohmm as an instrument of Ivation. Such clear organization of the theme | as a whole produces a clarifying me- dium for approach to a subject toward which no one can be indifferent. Beyond this treatment, so plainly help- | ful, there is the reverent attitude of the author himself, there is the spirit of has “Geep sympathy. sed sendet love, leep sympaf Aan nder love. The study, it seems to me, draws one nearer to those who will obje Lob;rh:m with. ject ject even - out reading the book. There will alone. | for its punishment. The most generally laws and regulations which assumed |™Man control of individual liberties of Britons §FEE &.gs;gh ‘ - » i i 5§§.§ o g y | ful drama. The basic purpose of the .| mental energy, honest and upstand- 4 | career does, within plausible efforts and . | unpretentious writer. He demands no ,| there is a straight course here and g | & strict way with words, that, together, tainment of it. leave them, in perfe believab A GREAT MAN. By Walter Vogdes. New York: Longmans, Green & Co. | VIGOROUS, well built, believable T story of American life. It goes back to the gold rush of "49 for the change and excitement of its action and to the Far West for proper setting to its color- ject a man, qualities of energy and productivity in which the time and the place are themselves so surpassingly rich. David Prazer stands as such embodiment—young, ambitious, far-seeing, a dynamo of physical and romance is to create and ing. The interests of the community are his interests, the future of the country within reach of his desires is his future. No, this is not a hero, not a hero of romance certainly. Yet his achievements, take on a decided meas- ure of the heroic. This is a markedly more from his characters and situations than they can yleld believably. Yet deliver a really “great man” to readers, in a certain connotation of that naming the “great man.” Besides David in his friend Darley, the doctor and a most interesting man. Be- side them both is Emily, who loves them both. Upon this fact the romance makes its way—that is, the love romance makes its way. The romance of a young part | of the country opening out to settle- ment and the production of wealth| through industry and discovery moves large and significant measures | around this central theme of man and woman love. A transparent story. And I mean by this that the words are crystals revealing action and character and personality without, seemingly, any such intermediary as speech. * ko % | THE LAST OF THE CALIFORNIA | RANGERS. By Bill Cossley-Batt. | New York: Punk & Wagnalls Co. Tms is the story of Capt. William J. Howard—a nt figure in the | earlier days of California and the last | of the “rangers” of that region. When the life of 2 man and the life of a region run along together in mutual illumina- tion, then both contribute of their best to the history of any section. And so it appears to have been here. Capt. Howard embodies and exemplifies much of the essential interest and activity of the California of his day. Here are in- cidents and anecdotes—hundreds of them—which come together in this| two-fold portrayal and interpretation. Drawn from the South by the gold rush, | the journey of Howard provides an adventurous odyssey from that region to the Pacific Coast. Here is life, the mining camps. Here is intercourse with | the Indians, friendly or hostile, as cir- | cumstance and hot blood decree. Here ! are bad men, thieves, bandits and their | |relations in the robber tribe. In the | i notable figures come and season this record of one of the brave | and picturesque characters who helped | to make the story of early California one of the most dramatic and roman- | tic chapters in the entire history of the | continent itself. But, this beok will not be read as history. It will be read by young, and not so young, in the very ardors of its own events. It will | stand as one of the legitimate “thrillers” of current literature. { *x %% | | THE WHITE CAMELLIA. By Francis, |~ D. Grierson, author of “The Smiling Death,” etc. New York: Edward crime law. It likely that some time a story also drawn from life, as these current murder tales may have been drawn, will make clear that a great | number of crimes play a winning game with the law. No, that would hardly do. We'll have to stick to the accepted formula, in the interest of public ‘morals, terious band, its emblem of union and | activity the white camellia. This band cial in its nature and performancgs— not unlike the K. K. l?e traitor acting under its insignia mur- ders a man and in the haste of escape leaves the white blossom of the order behind him. This is the clue with which the already familiar Prof. Wells and Inspector Sims follow through a maze of adventures that are calculated to keep readers wide awake as they fol- | low hotfoot upon the sudden turnings | of these two fine sleuths. One thing may be said for some of thess mystery writers. They do create a fine line of detectives. Running too much alike, maybe. But some day a new turn will be given to these that will add much to their powers of insight and to their ap- peal to readers as well. We are inclined to be lenient and uncritical toward these mystery mongers, and they are getting lazy under our indulgence. Read- a new turn, not so much to the sin committeed, but as to. the measures set beguiling of all stories, the story of crime fosters laziness on the part of its authors. Nevertheless, this is a good story, in the somewhat stereotyped line. | BOOKS RECEIVED l OUR NEIGHBOR NICARAGUA. By Floyd Cramer. New York: Freder- ick A. Stokes Co. GO AS YOU PLEASE, By Owen Archer, New York: Prederick A. Stokes Co. DAYS OF FEAR. By Frank Gallagher. New York: Harper & Bros. b FREEDOM OF THE SEAS. By Lieut. Comdr. the Hon. J. M. Kenworthy, M. P, author of “Will Civilization Crash?” and George Y of “Diplomacy, Old and Illustrated. New York: Liveright. AND THE SOUTHERN PA- Horace ;course of the personal story other perpert. P. Houston. Gen. Grant, and many an- | other. Adventure, danger and daring | UST another mystery story wherein Eh” @ losing game with the | This story is that of a mys- | itself is of good intent, though unoffi- | However, a | ers are beginning to feel that they'd like | Rog! mmN; author | Y Mary Destl. Illustrated. New York: Horace Liveright. A PERSIAN CARAVAN. By A. Cecil Edwards. New York: Harper & Bros. MEDITATIONS ON LOVE. By D. Prancelia Layne. Boston: The Four Seas Co. THE GRAND MANNER.. By Kronenberger. New York: Liveright. HOWS AND WHYS OF HUMAN BE- HAVIOR. By A. Dorsey, Ph. D., author of “Why We Behave Like Human Being:.” New York: Harper & Bros. ASTRO BUBBLES. By Marlo PFleld. Tlustrated by the author. Beeton The Four Seas Co. THE MODERN LIBRARY —MRS. DALLOWAY. By Virginia Wooll. New York: The Modern Library. THE MODERN LIBRARY — AMERI- CAN POETRY, 1671-1928; A Com- prehensive Anthology. Edited by Conrad Aiken. New York: The Modern Library. THE MODERN LIBRARY—SALAMM. BO. By Gustave Flaubert. New ‘York: The Modern Library. THE STRATFORD POETS—TWI- LIGHT FANCIES. By Ida Walden ‘Thomas. Boston: The Stratford Co. THE STRATFORD POETS—ARISTA: ‘The Trail of a Lest Child. By Charles Elmer Furman. Boston: The Stratford Co. THE STRATFORD POETS—A CHRISTMAS LETTER. By Lila Fadelia Gray. Boston: The Stratford Co, Louis Horace WITH THE TROUT FLY. By Ladd Plumley, for many years the fishing rditer fo Fleld and Stream. Tilus- t2ted, New York: Frederick A. €okes Co. CONTRACT BRIDGE STANDARDS. By Wilbur C. Whitehead. With an introduction by Ely Culbertsor With illustrative hands and col pletely analyzed. New York: Fred- erick A. Stokes Co. THY DARK FREIGHT. By Vere Hutchinson. New York: Horace Liveright. THE OUTLINE OF BUNK: Including the Admirations of a Debunker. By E. Haldeman-Julius. Boston: The Stratford Co. THE FRONTIERSMAN. By Harold Bindloss. New York: Frederick A. Stokes Co. MAY DUST. - By Louise Platt Hauck, author of “Joyce.” {ladel; : The Penn Publishing Co. TRADITION AND THE CHURCH. By George Agius, D. D., J. C. D. Bos- ton: The Stratford Co. THE PUBLIC LIBRARY Recent accessions at the Public Li- brary and lists of recommended resd- ing will appear in this column each Sunday. Aeronautics. Diehl, W. S. Engineering Aerodyna- mics. SZ-D568. Alr Navigation Course. SZ-H417. Holland, H. H. Aerostatics. 1924, 82~ Hi 65a. Holland, H. H. Avigatio Sz-H69. Kingsford-Smith, C. E.. and :Ulm, C. T. P. The Flight of the Southern Cross. SZA-K61. Literature. Borrow, George. Selections. - 1926. Y-B649. , 8. The Thought Broker. Y-C886t. Grey, P. W. G.. Vicountess. The White Wallet. Y-9G87. Harris, C. M. W. The Happy Pilgrim- age. 1927. Y-H242h. Law, P. H, ed. Modern Life and ‘Thought. Y-9L41 mo. Young, Arthur. On My Way. Y-Y85. Anthropology. Boas, Franz. Anthropology. PW-B63. Burkitt, M. C. Our Early Ancestors. 1926. PWA-B914oe. MacCurdy, G. G. Prehistoric Man. PWA-M 129p. Peake, H. J. E, and H J. Hunters and Artists. PWA- Fleure, 1927, Poetry. Baker, H. C, ed. _Contemporary Ameri- can Poets. YP-9B 173. Frost, Mrs. E. H. The Lost Lyrist. YP-F924 1. Gilbert, J. V. Singing Sands. YP-G37s. Johnson, R. U. Poems of the Longer Flight. YP-J63pf. King, Marian, comp. Mirror of Youth. YP-9K58m. Hall, A. V. Poems of a South African. YP-H 137. Warner, S, T. Time Importuned. YP- ‘W243t. Singing. Damrosch, W. J.. and others. Supple- mentary Sight Singing Exes 1925. VXVA-D 187s. Farnsworth, C. H., and Sharp, C. J. . Folk Songs, Chanteys and . VZV-F237. Parry, G. H, and Gray, Rosanna, eds. College Songs. VZV-P247. ers, C. K. Clear-cut Speech in Song.- VXV-R633c. Wier, A. E, comp. The Book of a Thousand = Songs. 1922, VZV- ‘W633bo. Wier, A. E. comp. Love Songs the Whole World Sings. 1016, VZV- Teaching. Collings, Ellsworth. A Syllabus in Project T . IP-C696s, Davis, C. 0. Our Evolving High School Curriculum. IPC-D29o. Irmina, Sister Mary. The Content and Measurement of the Reading Vocab- ulary. IP-IrSc. Jacobs, C. L. The Relation of the Teacher’s Education to Her Effec- =J 151 tion. IP-K562c. Park, M. G, A Problem-Outline in In- troduction to Teaching. IP-P214. Rock, R, T. Reading Tests for the Pri- -R50. Reading and Study. BANDITS CIFIC. C. B. Glasscock. New York: A. Stokes Co. SON OF THE GODS. Rex Beach. New York: Harper & e BALLYHOO FOR A MENDICANT; Poems. By Cariton Talbott. New York: Horace Liveright. inso Dibss | & Yorke Gallery - 2000 S Street NW. 7. Exhibition* it e o Every Book of ‘New and Popular