Evening Star Newspaper, December 22, 1929, Page 40

THE NOTES OF ART AND ARTISTS Ten Philadelphia Painters Exhibiting in Washington—Hun- garian Artists Show Unusual Work — Phillips Gallery Is Extending Its Influence. BY LEILA MECHLIN. EN Philadelphia painters are ex- exhibiting at the present time at the Arts Club, 2017 I street, where one of their number, Cora Brooks. held, it will be remem= bered, & delightful exhibition last Spring. ‘These ten Philadelphia painters are all women, the majority native Phila- delphians, and ail of them spending their student days in that city, work= ing at the Philadelphia School of De- sign_for Women or the Pennsylvania Academy of the Fine Arts or, in one instance, the Schogl of Industrial Art. ‘They are Theresa Bernstein, Cors Brooks, Isabel Branson Cartwright, Constance Cochrane, Fern Coppedge, Mary Russell P'en'ellucogan, afl::tz Maybin Ferguson, Lucile Howar M. lm.nbe(.rhmi’flu. the tenth, Helen K. McCarthy, being lately deceased. 5 Mrs. Colton comes of an old Phila- delphia family, but is now curator of art at the Museum of Northern Arizona and makes her home in Flagstafl. Fern Pl has a studio at New Hope, Pa. Lucile Howard and M. Elizabeth Price_have established themselves in New York. All of these painters have independ- ently won distinction and have held from time to time in New York, Phila= delphia, Boston and other cities notable “one-man” shows. For the most part they are painters of landscape, outdoot pictures, only occasionally entering 'fi fleld of figure painting, though one two have specialized in still life, one, Theresa Bernstein, in subject pi . Each has distinctive character- istics; no two are alike, even to the ex- tent of showing the impress of masters shared in common. M. Elizabeth Price, for instance, does Monhegan — “Bleak Weather” and “Broken Waters"—while “Spruce at ‘Triscott’s Beach” will be found typical of many places on the rocky Maine shore. ding vai to her group is a pic- ture, “Vells of Rain,” painted on the bridge of the 8. 8. Dominica, in the harbor of Port of Spain, Trinidad, when one squall followed another in rapid succession over that mountainous island. Fern pedge shows “Gloucester ts” and “After-glow, Gloucester,” as well as a eanvas which | she entitles “Winter Gold,” a picture | of her New Hope studio ‘Winter. She is one of the women painters who has spacialized in ‘Winter LS sy em one ali- fornia Valley. Her manner of render- ing is broad and simple, conforming to pu;:h'l character of the scenery which she s, . Nancy Ferguson first came into notice through her unique pictuses rden in scenes. lton is of the much Her Summer studio is at Included in it are her “Out the present exhibition and “Waiting for the Bus,” colorful and gay, as well a8 “G 4 g engaging ted by “Co- wvana,” painted ourn in Cuba Mexico, a desti- bf ‘more’ h subjects, such, for example, as Pass— her Tris “The Top of the “EMILIA” A PAINTING BY ISABEL BRANSON CARTWRIGHT. IT 1S BEING EXHIBITED IN THE SHOWING OF THE TEN PHILADEL- PHIA PAINTERS. decorative works. Some of her deco- dium she employs gesso, gold and silver 1::{. m"auz wmtzxvedr she dg:e evmenc’? T fine sense of design, her apprecia- tion of the fundamentals of decoration. ‘The paintings which the ten Phila- delphia painters have brought together in this rotary exhibition (which, by the way, is having its first showing here) have been produced far afield, in Eu- rom. Arizona, Cuba and that well known d, M ff the coast Isabel Cartwright, painter of the group, shows works which are the output of several Summers in . | brocads Autumn’s ‘Quiet | at the Arts Club tl:gm yesterday to Cedar painting entitled | Museum of Art in ‘Time,” and in the 1929 eontest was awarded fourth prize, which in this contest was $1,750, for & painting, “Wild Poppies.” Constance Cochrane is a water color- it as well as a painter in ofl, and showed last Summer in an exhibition &t the Philadelphia School of Design a group of superbly colorful studies made on a Winter trip to the West Indies. Summer was spent at Monhegan, and her “Mackerel Fleet” included in this exhibition was painted there while & group of Gloucester fishermen was tled up at the Monhegan wharves dur- foul weather. Included in her group are iwo other paintings done at “THE MACKEREL FLEET,” BY the one figure [8nd stirring impression of cloud capped, and gay little mountain torrents. M. Elizabeth Price is shown in five over-mantel decorations, each of which might well become the keynote for the decorative scheme of & house. For the most part the motives for these were found in her own garden at New Hope, where ghe has & Summer home and studio. Cora Brooks shows again colorful flower studies. Her garden is at Booth- bay Harbor, Maine, tucked in a clearing in the birch woods. In it are phlox, iris, delphinium, m gladiolas and lilies, with borders of forget-me- nots, and in the deeper shade begonias fuchsias. Among her exhibits are “Tribute Silk of the Mancshus,” a pic- ture of phlox against an old bit of le; er,” “From 'heuury" eB'I‘I;mn.l“ f which " ete,, of w] lend color and charm to the exhibit as a whole. ‘This exhibition will remain on view January 11. From here collection will go to the Art Association of Jack- ; the Milwaukee Art muwg, e N5 Syracuse, N. Y. is fortunate in being not only on the list but first, *x % A’r the Yorke Gallery, 2000 8 street, there opened, December 16, with a private view an_exhibition of paintings oung Hungarian artists, w a zlnnml plaudits abroad have come to this country as to a new world to ex- tend their experience and to find larger opportunity. They are both serious and sincere artists and they have studied in the best schools and under excellent masters. At a glance there may seem to be & ew of the | certain similarity in the work of these talented sisters, but upon closer in- svection and acquaintance it is found that each has marked individuality. Both paint figures, landscapes and flowers; both specialist, however, in por- traits. Occasionally 'they paint the same person at the same time from two points of view, and it is interesting, under such circumstances, to note how different are the interpretations. Included in this exhibition, for ex- ample, are portralt studies of Count Julius Andrassy by both sisters, likewise portralts of Senator Borah, Senator Phlgps and the Speaker of the House, Nicholas Longworth. The portraits of Senator Borah and Speaker Longworth are painted life size on white canvas without background, without figure save in outline, the head holdln‘” center of the composition and g finished as & mask. These paintings show excellent draftsmanship, command of technique, keen and correct seeing. It is interesting to note that, whereas one sister seems to secure her effects by what is technically known as first in- tent—direct painting—the other builds up her compositions, painting and re- painting. overlaying one color on an- other. There is quite a little suggestion in the work of the one of Carriere, though 1f it is the result of actual infilu~ ence it has been unconscious. ‘There is one lovely portrait study of A young woman, very spiritual in qual- ity, reserved, atmospheric and at the same time rendered in & rich impasto, suggestive almost of lacquer finish, such as_was once employed by those of the old Munich school. There is & charming sketch by Bertha de Hellebranth of the Countess Lasslo Szechenyi, and an admirable study by her, “Dutch Woman,” which won for the artist the much-coveted Szinnyey- hMenru prize, an extraordinarily high onor. Among Elena de Hellebranth's are portrait studies entitled ent Woman,” Girl,” each typical and characteristic. Both show nudes painted with academic fidelity, but with venturesome original- ity—obvious effort to personally solve difficult problems and solve them well. ‘The landscapes by hoth sisters are atmospheric but perhaps a little n{:m The views of dapest, the artists’ home, are the most interesting. And strangely enough, translated through the eyes of these Hungarian artists, Central Park and the “Jardin des Tuil- leries” both take on a foreign aspect. There is something essentially for- eign in all of these paintings, a native note which lends interest and evokes thought. There is, furthermore, in the paintings by these Hungarian sisters, who despite their honors are still not long past the threshold of professional adventure, - that which in t! richness of heritage which those of old civilizations possess by way of artistic tradition —a difference, per] , be- tween the Old World and the New of background, but also a difference in point of view, in the El“e given to art, a place which dign! it under all circumstances. These .young Hungarian artists have bfin:nogrcounluyla'tgxmh:nn ey speak our language; they have ac- queinted themselves with our art. They have been invited to exhibit in one or more of our leading art museums and they are modest and unassuming. The; come of a distinguished artistic family. meg! mother is s musician; their T 8 Suf surgeon. They are full of the joyous spirit of adven ‘work and they wiil undoubtedly find success. This exhibition will continue at the Yorke Gallery through January 4. LR IT is interesting to know that, at the same time that the art of contem- gornry Hungarian artists is being shown ere in this city, plans are in progress for an exhibition of American art to be shown this Winter in Budapest under the joint auspices of the Hungary So- ii::.y and the American Federation of This exhibition, which will be set forth in the Nemzetl Salon, Erzsbet Ter, Budapest, under the patronage of the minister of education, will comprise ap- proximately 40 paintings and 8 or 10 small works in sculpture by I g American artists, and will, 18 hoped and thought, demonstrate to Hungarian lovers of art the excellent quality of work done this country. In ex- change, later on, an exhibition of Hun- rian decorative and industrial art will t to this country and circulated in our American museums under the same lm&lcet These interchanges of exhibitions go far, it is thousht‘ to break down bare riers of misunderstanding and to dem- onstrate common holding ideals in that realm which is essentially inter- national. For the Budapest exhibition the Phil- ll}zs Memorial Gallery is lending a group of paintings. Other works be lent by the Carnegle Institute, Pittsh th, the Grand Oentral Gallerles and the artists. Among those who will be rep- resented will be Ge« Bellows, nk Benson, E. C. Tarbell, J. Alden Weir, Arthur B. Davies, Childe Hassam, Charles W. Hawthorne, Eugene Hig- 5:-:3‘& Rfi.;k'eu Kent, gorle LAII.h, Je- ers, Eugene . Augustus Vincent Tack, Marjorie v;filllpe,mmn Kroll, Charles H. Woodbury, Prederick J. Waugh, to name only a few. * ok ok ok Tl-m Phillips Memorial Gallery is ex- tending its influence and useful- ness in more than one direction this (Continued on Sixth Page.) CONSTANCE COCHRANE. A PAINTING IN THE EXHIBITION OF THE TEN PHILADELPHIA PAINTERS, £ SUNDAY STAR, WASHINGTON, D. 22 Py C.. DECEMBER Christmas Day With The Master Painters BY MALCOLM VAUGHAN. E_ have very scant informa- tion regarding the birth of Christ. It is described but once .in Scripture—in the second chapter of the Gospel of St. Luke—and is related in a single paragraph of less than 30 words: “She brought forth her first-born son, and wrapped Him in swaddling clothes, and laid Him in a mangery be- cause there was no room for them the inn.” All the rest of our information is legendary. Yet, when we turn our thoughts to GERARD Painting in collection of Jules 8. Bache. black ass that peer from out the open barn. In Flemish art the birth of Christ is represented more humanely and with more realism. It is a family matter with a divine relationship. Consider, for example, the Flemish “Nativity,” by Gerard David, here reproduced from the collection of Mr. Jules S. Bache. The stable is less symbolic, more habit- able, though still open to the winds through a dilapidated window. ‘The Child is carefully protected from the straw of the manger by a large drapery. His swaddling clothes, in a basket nearby, are ready for use. A sheaf of wheat and wisps of hay on the A FLEMISH CONCEPTION OF “THE NATIVITY,” PAINTED BY DAVID. Reproduced by courtesy of Sir Joseph Duveen. the manner of His birth, each of us clearly visualizes the scene—the humble stable with its wide-eyed animals, the swestruck St. Joseph, the bed of straw with its precious burden, and Mary, %nale from “the intolerable honor which had came upon her.” We owe our visualization to the fine old painters who first made pictures of scene. It was they who established, or perhaps one should say crystallized, the setting of the event that St. Luke |is 1 : narrated. All our pictures since then, including the one in our mind's eye, ve their source in the art of the old masters. ‘Today such paintings are doubly cher- ished: as relics of art and as early rep- resentations of the sacred scene. Amer- ca is fortunate in having been able to acquire within the last 30 years a num- ber of these rare, early representations of the birth of Christ. Indeed, our mu- seums and private collections are now able to show, in ori aspects of the occa: ously conceived. * ok k% AMONG the ola masters Christ's birth is celebrated in three forms— the “Nativity,” the ‘Adoration of the Shepherds” and the “Adoration of the ‘Three Wise Men.” It would seem that, since St. Luke bespoke so little infor- mation, his two or three details would have been strictly followed in art. But in one reafect the painters have usually m‘d no attention to his account. The fant rarely appears in swaddling clothes; instead, He is almost always nude. He has not yet been wrapped by the time the shepherds have come, nor yet when the wise men have arrived. Had the early painters been women and mothers, this detail doubtless would 'lx;:a beenlpruented in accordance with art frequently introduces a S two_adorations, 5t Josgph i ofien WO ns, St. Joseph is often rendered as sound asl 'k the source of this idea. Enough to the old Itgllans these holy moments were too divine even for Joseph’s gaze. Those whom God by celestial phenomena had chosen as worshipers—the shepherds called by an angel in the heavens, the sages led by & spectacle in the sky—they alone were als, the various n as it was vari- In early It art it is the divinit; of the event which the pain 4 to express. The symbol the reality is their aim. Sometimes have tho\z(bl:; 80 little of human its have lald the un. Babe in the manger with no sheet~ hatsoever between Him and the roug! ws. Symbolism and a divine mood are obviously attempted in the Italian “Na- tivity,” by Lorenzo di Bicci, illustrated on this page and now in the collection of Mr. H. I floor indicate how busy Joseph has been in making the cradle-like bed com- fortable. Joseph and Mary kneel above the new-born Prince of Peace in thorougniy human postures. The animals lean so closely over Him that their warm breath is upon Him. From outside two por- trait-like shepherds have left their flocks in the distance and are just ar- riving at the open window. The mood human rather than divine, except for the procession of angels in flight through the doorway. A similar humanness and considerable realism also characterizes early German painti; of the subject, such as the South German “Nativity” shown here. Three angels, Mary and Joseph all kneel in devout joy before the Child, who is shielded from the cold of a tile floor by the blanket of Mary's mantle. Out- side, shepherds among their sheep are seen frightened by the angel descending “THE NATIVITY,” AS VISIONED BY THE OLD GERMAN SCHOOL OF PAINTERS. Reproduction by courtesy of Kleinberger Galleries, New York. upon them with glad tidings. One feels in this picture a quality of the divine, but the mood is realized humanly, and the Child, portrayed without a halo or & nimbus, might be almost any plump and healthy G:(rm.m‘bl.l‘!y. L GRECO, the great interpreter in art of Spain’s religious fervor, pic- tured the scene in a highly individual manner. As might be expected from his brush, El1 Greco's “Nativity” in the Metropolitan Museum-—another version of which is in the collection of George and Florence Blumenthal—is impas- sioned and emotional. The stable is a mere architectual suggestion in the background. The animals, though present, are nmmg)nmt spectators. Everything centers upon the radl- ance revealed when Mary .with a sud- den gesture uncovers the Infant for assembled adorers to gaze upon with astonishment. Joseph throws out his arms in amazement, dropping his mantle and his staff to the floor. The excitement of the scene extends to the ters strive | 50 than So few early English paintings exist that so far as is known America does not yet an old English version of the birth of Christ. Old French paintings of the subject are almost as Tare, though two are known to exist in this country—one in the John G. John- collection and one in the collection e 15 in realty an the Nativity, By an t, it 18 one of the earliest known French paintings now in existence. It dates from about 1320, and depicts a shed beneath which the Virgin, gowned in simple robes, holds on her lap a wholly natural infant, The eldest of the wise men kneels be- fore the Holy Child and catches one of His tiny hands to his lips. The other ¢ | magl await with frankincense and th to pay their tribute. mm meekly at their Oriental deference, Joseph and am- 1 920—PART TWO. REVIEWS OF WINTER BOOKS Who Started the World WarP—Emil Ludwig Keeps Up the Discussion—The Lost Cities of the Mayas—A Wide Variety of New Novels. IDA GILBERT MYERS. IME, in its wear and tear, affects bodies of thought no less than those of material bulk. Storms of controversy and discussion beat upon these as wind and rain beat upon the earth itself. As hills are washed away and valleys carv- ed in constant re-creation of the earth’s surface, so these old beliefs and opinions have been steadily eroded to new outlines of meaning. Innumerable forgettings and fresh revivals have re- colored them again and again in the purple dyes of distance, reset them in the softening perspective of the ages. The grot highway of history itself is strewn with these relics of vanished be- liefs just as, beneath the surface, the earth is strewn with broken sculptured remains of its material past. There are lying around us today many a question—grave or gay—queries of puzzling im| which, assembled, constitute a motley of allusions to things that used to exist in actuality. To name a little handful of them, gathered at random: Who did discover America? Was Herodotus the old liar that he used to be called or is he the authentic historlan_that modern tests now_in- dicate? Who wrote Shakespeare? Who killed Cock Robin? How old is Ann? and 5o on, in the light mind or serious, these odds and ends come to the sur- face. History, romance, fable, fairy tale, myth, legend, poetry and song are all indicated by such varients of human impulse and expression, * K ok K JULY '14. By Emil Ludwig, author of “Goethe,” etc. Translated from the German by C. A. Macartney. Ii- lustrated. New York: G. P. Put- nam's Sons. HO started the World War? For A ten years now a steady urge of literary industry has been crowding library shelves “with answers to this single question. Works of ponderous &)lemlcs have gone into it. Micro- opic research and _expert analysis have belabored it. Persuasive argu- ments have turned it this way and that. Publicity has bullyragged it from every angle. Poetry has sung it, the drama has pictured it. high 'round the persistent query, Who started the World War? Emil Ludwig’s “July '14” is not a big book, as book discussions run. Hardly is this discussion, however. Rather is it a straight course into the various centers and sources of information, into the secret diplomacies of Europe, for years leading up to that July tragedy of 1914. With documents to support him, Ludwig marshals the statesmen of Europe to an open accounting of that which has to 50 great an extent been held 1n secret. Diplomats and military leaders and forelgn ministers make up the company which with irrefutable (Ul evidence is challenged by this fearless and vigorous fighter against the deep silences of international negotiations. Bring these into the open. er or later they lead to war. When war comes it is the youth of the countries who step out to pay the bill of self- seeking diplomatic bargainings. Forth. right, challenging, and above all illumi- nating, “July '14” will be in the hands of readers and students of the Great ‘War long after miles of library shelves have been swept of the bulk of their literature upon this particular theme. Brilliant, cutting, truth-telling, con- vincing, this book belongs with the youth, with those who in the days to come ‘will refuse, openly, to fight the battles of bargain-making international | 1 Tepresentatives. * ko x ‘THE SAGA OF THE SWORD. Bg{ Britten Austin. New York, e MacMillan Co. THOSE who read all and those who read but some of the series of history-fiction tales which, grouped under the general title “The Saga of the Sword,” appeared in the Saturday Evening Post, allke will rejoice that these excellent and unusual contribu- tions to knowledge by F. Britten Austin have been published in book form. Mr, Austin is & man whose knowledge of things military, both ancient and mod- ern, is based evidently on a keen interest in the art of war and has been en- hanced by a vast amount of delvin into old and authoritative sources of information. War is by no means all there is to history; on the other hand, up until today and, possibly even to- morrow, war seems to be inextricably linked history. This author's serles of im lons of warfare, given along the lines of a historical novel, start the reader with pre-historic times and bring him through the ages to the World War. No one can res volume without learning a great deal and, no matter how pacifistic his ten- dencles, without e: encing a quick- ening of the blood. Although not a Juvenile book, it will make a particu- larly appropriate present for a boy, and that wlfp.hmm any liklihood of making him overmilitaristic. It is a companion volume to “When Mankind Was Y > Wwhose chapters were also pflmeda%- inglly in semi-serial form. A third series by the same author, “Toward the Millennium,” is at present widespread attention. * Ok k% UNWILLING GOD. By Percy Marks, author of “The Plastic Age,” ete. New York: Harper & Brothers. ON top this is a perfectly scrump- tlous college story. Underneath it is a story of life, positing one of the prime questions of every man's exist- ence. Let us get the question out of the way at once. this one or that—you, or I, or the other—be an insider or an outsider? Inside, sharing equally, partaking whole-heartedly?—or outside in. & spirit of superiority, of distaste for the average behaviors of the crowd? Which? Here is the question embodied in “The Unwilling God,” as it is implied also in the individual atti- tude beyond the college years. Yet it is nothing more than the story of Bill Royce at college. Bent upon getting an education. Hell! he'd paid for it—this is Bill himself talking, why certainly it is Bill!'—and why should he waste his time on what is so generally, and vap- idly, known as “college activities,” “school spirit” and the rest of it? No reason why he should and he wasn't gnlng to—not if he knew himself, and e guessed he did. But, you see, Bill had the good fortune, or bad, to be a splendid animal, and a surpassing ath- lete. It was plain poe to see Bill doing his do on the fleld of foot ball. It was certain winning beside. And there you are. There is the story, or the making of & thoroughly big adven- ture, set out in a complete intimacy with the theme, set out also in a work of surpassing structure—building the novel according to the fine art of archi- tecture, build: Bill according to a man’s keen hold on the heart and mind of youth. Not a story for young readers alone—one instead for all who mmmmmuqummmjwhme name is Life, in this beau thing ‘whose name is Art. i THE WIZARD OF ZACONA: The Lost City of the Mayas. lard, author of Sacred Wel Boston: ford Co. HE wings of Lindbergh fanned into recent and passing popularity the story of a buried civilization down in Yucatan, the story of the lost Mayas. But every is packed Print is’ still piling | his ad this [ red in rected and expert activity bent to the|. recovery of & whole city lost a thou- sand years ago, lost under the stran- gling and exterminating growths of the tropic jungle. It is & fascinating theme, a gruesome one besides, for this —counting time by the millions of years upon which time demands to be counted—is the common fate of every civilization. However, let it go. Let us look upon this buried area, slowly emerging into the light of day from its thousand-year sleep under the soil. It is upon such actuality of hu- man _history that Mr. Willard builds this thrilling novel of modern explora- tion by a young American archeologist. Substantially based upon a foundation of fact, as these facts have come into the open, this author has interwoven the old and the new, the dead and the quick, in an artful consistency of plcturesque and striking effect. The old man, the “wizard” in his powers of intuition and divination serves to re- embody, in & measure, the salient points of that long past which sclence 18 reading anew from sculptured stone and crumbling temples. Around this central motif Mr. Willard creates the intricate difficulties of love between two ‘whose blood and traditions are the dis- parate products of different ages and alien races. The young American and the daughter of the rich and secluded daughter of haughty Pedro Cocom. Here is the romance for which most readers will welcome the book. For it is a colorful, well conceived, finely rojected love story. But for others, or the many who have fallen under the spell of that lost race, under the spell of the buried Mayas, the novel will possess & much more lasting charm. In both respects the story is a fine one. One of these will fade away gradually. The other will create in readers an urge for more and more about the Mayan temples, about the “sacred well” as the emblem*ot‘thia l:lt people. NICHOLAS GOADE, DETECTIVE. By E. Phillips Oppenheim. Boston: Little, Brown & Co. 'VEN on the idlest of vacations every- , in spite of himself, pursues irticular vocation. The doctor loitering ‘over the countryside finds ail- ments to heal despite his secret pro- test. The lawyer takes a hand at right- ing trifling wrongs. The realtor spin- ning along for “a real rest” plats flat grass-grown flelds into village lots and city suburbs. The banker counts the assets of his firm and the broker looks for easy innocents to gobble up his hokum pitched to the tune of “millions in it.” Asa matter of fact, nobody “takes & vacation” simply because he himself goes along. So with Nicholas Goade, detective. Like all the others, Nicholas on that particular morning was bent n idleness, loafing, eating and eeping, c\flgm‘ down the grand air of the English do nothing else, nothing else at all. he cranked up the little old Ford—or ‘whatever one to do to the little old thhwmmfltmvwmm on for these three. They looked J like that too, just like a vacation. The Ford, quite in the spirit of the thing, loftered, and jiggled, and said many things in many different of fimuat and complaint as she made this ttle knoll or that modest hill, such as |/the Downs specialize in. No use. Things began to happen rght away, things to prick the ears of Flip and to fire the eyes of Nicholas Goade, detective. No less than just about a dozen times in that short 10 days, or whatever it was, mysterious things rose in the pathway of this trio or trafled them wi and signs and symbols of strange do! roundabout, crooked things that had be made straight by Nicholas and Flip and Lizzie. Sorry to g0 to pieces so thoroughly, but, from the rcl.m of view of the one reading, or Lstenlgr it was sheer good luck for him. here Nicholas Goade, detec- tive, sets Mr. Oppenheim on his way of making the ‘most bellevable and "the suavest o;zllml based on the frailty or the wickedness of man, of man pur- sued by a queer Nemesis—part sleuth, part_Sealyham Flip, part an old Ford car of characteristic grit and good sense. You'll like these short ing the strange hap- along a sleepy wayside, or over across the moors. SEE MY SHINING PALACE. By Diana Patrick, author of “Call It a Day,” etc. New York: E. P, Dutton & Co. I T is quite an old matter—use of the marsiage rite to mix blue blood and the hope of mutual advantage. gone poor not only in its builds an active, swift-turning novel of love and marriage—and the afterwards of these. The new-rich business man possessing also & lovely daughter. The depleted nobleman with a petered-out son to recoup old losses with brand-new currency and a husband of sorts thrown in. Keen of insight and wit, ready in the turns of speech that set characters out with vividness and vitality, this writer follows the course of a courtship, old in content, but cut to a pattern wholly modern, pursuing it with an in- tuition and a skill that work gradually out from a sordid and unhappy situa- tlon into one of rather ideal texture and pattern. A good novel—that never lapses into even a moment of careless- ness and insipidity—one to give an eve- ning the color o{l{e'nulne enjoyment to any reader who likes a good story. BOOKS RECEIVED THE SONGS MY MOTHER NEVER TAUGHT ME. According to John J. Niles, Douglas 8. Moore and A. A. gloul:ren. New York: The Macaulay . By Valentine Katae: Translated by L. Zarine, with an introduction by Stephen Graham, New York: The Dial Press. TEMPLED HILLS: A Tribute. By George William Gerwig, author of “Schools With a Perfect Score,” etc. Pltbburgh: Percy Publishing Co. NEW 'S EVE: A Play. By Waldo Frank. New York: Charles Scrib- ner's Sons. THINGS PAST. By Vittorla Colonna, Duchess of Sermometa. Foreword by Robert Hichens, New York: D. Appleton & Co. BROTHER ANSELMO. By Dorof Glaser. New York: Payson Clarke, Ltd. THE MODERN LIBRARY—THE CAN- TERBURY TALES. fiwoeodruy Chaucer. Edited by the . Walter W. Skeat. Introduction by Louis Untermeyer. New York: The Mod~ ern Library. TO THE PEOPLE WE LIKE; A Toast and By Frances Lester : Houghton ‘Williams, Hand) on_ Story Writing,” etc. New York: Double- day, Doran & Co. THE_GRUI LATION. By R. H. Mottram. Illus- trated. Boston: Little, Brown & Co. CONTINENTAL ‘GROUND By Helen Ashton. New York: Har- Renard, suthor of “Blind Oircle,” etc. Translated and adapted by Florence Crewe-Jones, New York: E. P. Dutton & Co. [O_ENEMY; A Tale of Recontruction. By Ford Madox Ford, author of “No ore Parades,” etc. New York: The Macaulay Co. MYSELF . By Henry Har- rison. New York: Published by the author, N of “Jesus—Man of Genius.” York: Harper & Brothers. THE STORY OF MONEY. By Norman Angell, author of “The Great Illu- sion,” etc. Illustrated. New York: Frederick A. Stokes Co. New Mary J. J. Wrinn, Journalism, Goorv ‘Wasl n High School, New York City. New York: Harper & Brothers. COXEY'S ARMY; A Study of the In. dustrial Army Movement of 1894, By Donald L. Murry. Illustrated. Boston: Little, Brown & Co. MURDER AT THE INN. By Lynn Brock, New York: Harper & Bros. COCK ©O' THE NORTH. By Talbot Mundy. Indianapolis: ‘The Bobbs- Merrill Co. PUBLIC LIBRARY Recent accessions to the Public Lie omens | My have the vacation | Read, brary and lists of recommended read! will appear in this column each sundiry‘. Christmas in Song and Story. De Vitis, M. A. A Series of Six Radlio Talks on Christmas in Story and Music. 1927. CRPF-D4gs. wis, D. B. W., and Heseltine, G. C. ps. A Christmas Book. CRF. Marzo, Eduardo, ed. Fifty Christmas 24 Carols of All Nations. VYRO-M369, ‘The Oxford Book of Carols, VYRC-Ox3, Travel in the United States. Breakenridge, W. M. Helldorado, Bring- the Law to the Mesquite. G938« Haldenian-Julius, Emanuel. The American Parade. G83-H125, Lockley, Fred. Oregon's Yestere 3 G943-L81 o. o Moore, Charles, Washington, Past and ; Nichots, Beveriay o Star lc] ), verley. ‘Y Spangled er. -N51. Saxon, Lyle. Old Louisians. G876- Sherlock, C. C. The World’s Debt g‘“fl: gfl. G83-8hb5t Ghes-weoe Poetry. Ausl_;;eder. v.']luep:, na% Hill, F. B, eds, mm?(gfl J. C. Lyrical Poetry from Gullormas, Arbey. Siag and Laughter YP-Godss. ¢ Kbrte, Alfred. Hellenistio Poetry. Z¥92- Marcus, Shmuel, ed. An Anthology of Revolutionary Poetty. YP-9! 5 ul)ldlgf.! Helene, Earthbound. YP- e. Rathbone, Mrs. L. L. H. ‘Win, Song, 1037, YP-R1D o OF VioE of HRgi Phases of English Poetry, s, Mrs. b M, 8. ¥ ¥P-sidsh, o el Radio. Year Book, circulate.) E. Radio Radlo ot Bagensy 6In7. Duncan, R. L, and Drew, C. 'Tngletnphy and Telephony. TQGC- Du Monicel, T. A. L., Vicomte, The Tele- pl the Microphone and the e, crop] Phonograph. 1879. TGC-D8S.E. Fiction. AmszO,u-xuuer, Jo van. The House of Bottome, Phyllis. WindI 3 Cabell, J. B, The W omfl. Chesterton, G. K. el Poet and the D. Mainly Horses. -~ Sullivan, Virginia. Permanent Wave, Completion of Norse Project Brings Feast Norway's biggest banquet ever was staged by the Norske Hydro on com- pletion recently of new $20,000,000 plants for saltpeter at Rjukan. All Older TRzt ik fhelr wives aod , &l , guests 3,000. The menu tain aquavit ('ll":fl m! grain brl:m i ) of liquors, frults, coffee and cakes. coffee was brewed in 10 kettles quarts each. One ton of sausages was used, one-and-a-half tons of potatoes, 800 pounds of bananas, half & ton of Frp AT A 3 e 800 bottles of liquors. SR New “Sport Lexicon” Planned by Italians There is something dre: r- niclous about the in B e about its sporting vocabus allows it to work its way into other languages. Now the Italians, in their peculiar nationalistic way, decided further to purify the! guage by writing & new ?om dietion- ary, which will give the Itallan equiv- alents for the English words in popu- lar use. At the same time newspapers 'fll“b;léen to "uch"t:“g; instead English terms, mu vexation “head 'rlal'l" who ha Vorke Ciliiey 2000 S Street EXHIBITION of Paintings y ELENA and BERTHA de HELLEBRANTH December 16th to January 4th '