Evening Star Newspaper, March 5, 1933, Page 44

Calendar of Exhibitions CORCORAN GALLERY OF ART, Seventeenth street and New York avenue. Permanent collection. Erhibition of Amer- ican Indian Art. February 3 to March 7. Annual exhibition, Washington Water Color Club. March 3-30. NATIONAL GALLERY OF ART, Tenth and B (Constitution ave- nue) streets northwest. Per- manent collection. Special ex- hibition paintings by Cesareo Bernaldo de Quiros of Argen- tina, January 13 to March 13. SMITHSONIAN BUILDING, DIVISION OF GRAPHIC ‘ARTS, UNITED STATES NA- TIONAL MUSEUM. Etchings by Sybilla M. Weber. February 27 to March 26. FREER GALLERY OF ART, Twelfth and B streets south- west. Permanent collection. LIBRARY OF CONGRESS, print division, First street between East Capitol and B streets southeast. Permanent collec- tion. ARTS CLUB OF WASHINGTON, 2017 I street. Paintings by An- thony Thieme of Boston and Sarah Baker of Baltimore. March 5 to 19. PHILLIPS MEMORIAL GAL- LERY, 1600 Twenty-first street. Open ~ Sunday and Monday, March 5and 6, 11 a.m.to6 p.m. TEXTILE MUSEUM OF THE DISTRICT OF COLUMBIA, 2330 S street northwest. Rugs, tapestries and other teztiles of the Near and Far East. Open Mondays, Wednesdays and Fri- days, 2 to 5 o'clock. Admission by card obtainable at the ofiice of G. H. Myers, 730 Fifteenth street northwest. PUBLIC LIBRARY, Central Building, Ninth and K streets. Photographs of Greece, by C. H. Whitaker. MOUNT PLEASANT BRANCH, PUBLIC LIBRARY. Paintings by members of the Studio Club of Washington. NORTHEASTERN BRANCH, PUBLIC LIBRARY, Seventh street and Maryland avenue northeast. Paintings by Wash= ington artists. GORDON DUNTHORNE GAL- LERY, 1005 Connecticut ave- nue. Etchings, “Los Caprichos,” by Goya, and color wood block prints, by Gustave Baumann of Santa Fe. ART LEAGUE OF WASHING- TON, 2111 Bancroft place. Paintings by Lillian Moore Ab- bot, Charles Surendorf, Chil- dren’s Art School, March 1-15. SEARS, ROEBUCK & CO. ART GALLERIES, 1106 Conmnecticut avenue. English portraits and works by other great masters— Carroll collection. Bulgarian folk embroidery, paintings by Ivan Swift, etchings by Seibold, lithographs by Beekman. March 8 to 31. RARE BOOK SHOP, 822 Seven- teenth street. Hand-colored prints, North American birds, by Rer Brasher. To continue “to March 31. TRANSPORTATION BUILDING, Seventeenth and H streets northwest. First ezhibition, National Society of I t Artists. February 27 to March 11. TEN O'CLOCK CLUB, 1603 K street northwest. Paintings by Grace Merrill Ruckman. Feb- ruary 26 to March 17. THREE MUSKETEERS SHOP, 1529 Connecticut avenue. In- dian tribal arts. March 8 to 18. N the galleries of the home con- struction division of the Sears, Roebuck & Co., 1106 Connecticut avenue, there will open Wednesday evening. March 8, an exhibition which has as its major feature a collection of paintings by old mas- ters assembled and brought to this country by A. Luscombe Carroll of Lon- don.. Of utmost importance in this collection is a portrait of Lieut. Daniel Holroyd, younger brother of the Earl of Sheffield, by Thomas Gainsborough; a portrait of Sir Thomas Frankland, by George Romney, and a portrait of Charles Watson, Laird of Saughton by Henry Raeburn, as well as works by Beechey, Gordon, Kneller, Lely and others. The Gainsborough romantic history. sale at an auction in London in 1928. It was so black and grimy, however, that none recognized it as a Gains- borough. Suspecting its distinguished origin, Mr. Carroll bought it, had it cleaned and found himself in the pos- session of a rare treasure. The subject, Dan.Holroyd, was killed in Havana in July, 1762. Therefore, the portrait was ainted in Gainsborough's early days. t represents a young soldier in the it has & It was_offered.- for | By Leila THE SUNDAY STAR, WASHINGTON, D. C, MARCH 5 1933_PART FOUR. NOTES OF ART AND ARTISTS Mechlin Unusual Exhibitions Now Open for Visitors in the Capital—The Goya Etchings and a Fine Collection of the Old Masters. Portrait of Lieut. Daniel Holroyd Carroll collection at the s a permanent museum, for a nominal admission fee. This house was built shortly after 1800. It has for the past 130 years been in the possession .of only half a dozen families. It stood originally some feet farther south, so that when O street was cut through and the Q Street Bridge built, it became necessary to move it. The old wings were then torn down and the house moved north and higher on the hill. Later the wings were restored, and after having been occupied for a while as a private resi- dence it was purchased by the Colonial Dames of America, and under the ad- homes and their furnishings, placed in its present charming condition. The restoration and refurnishing of this house };:j,indeed been most skill- fully done , fortunately, not over- done. Each piece of furniture which is placed in it is passed upon by Mr. Lockwood, and only those of the pe- rlod—1780 te 1810—and the bestot-their kind, are accepted. There are a drawing room and & music room to the right of the en- trance; a library and dining room to the left. Abovestairs are four bed rooms. In the wing to the right are committee rooms. In the wing to the left a kitch- | en and private quarters for the cus- saved and refurnished, but the grounds have been beautifully laid out in ac- cordance with the tradition of the pe- riod, so that a perfect setting has been provided. An eminent art critic once said that the present vogue for the Colonial was a desire for escape from the hurry and bustle of the present to the quiet and repose of the past. Certainly the at- mosphere of this charming old house brings this thought to mind, and with it the query as to the comparative value of that which has been given in ex- change for the new. The house is open on week days from 10 am. to 5 pm.; on Sunday from 2 to 5 pm. It should be considered in the category of public museums. AN exhibition of etcmnz:dhy u?ybgil Mittell Weber o e Smithsonian Instlmm Building, under the suspices of the division of graphic arts, United States National Museum, February 27, to continue to March 26. Fifty prints are included in the collection, which is, of its kind, unique, consisting exclusively of etch- “dlert,” a drypoint by Sybilla Mittell Weber. In tha exhibition at the Smithsonian. brdiliant uniform of the Irish Regiment, his black cap richly ornamented with @ crowned harp, shamrocks and oakleaf sprays. The uniform coat is red with green lapels. The waistcoat and trousers are bufi-colored with a crimson sash, while in the background a battered fort- Tess is shown. The Sheffield Arts is in the lower right-hand corner of the ainting. B Other exhibits to be shown at the game time in the Sears, Roebuck & Co. Galieries are antique, Bulgarian folk embroidery, paintings by Ivan Swift, etchings by Maxim Siebold and litho- graphs by Henry R. Beekman. 'HE American wing of the Metropoli- tan Museum of Art, New York, con=- serves for "all time evidence of the inherent good taste of our Amer- jcan ancestors in home building end furnishing. Since its erection there has been a marked increase 4n appreciation of the furniture and domestic architecture of the Colo- nial and early Federal periods. Rooms from fine houses about to be destroyed have been rescued and rehabilitated by museums not only in the East, but in the West. Philadelphia has wisely saved some of its fine old houses, which have been restored, refurnished and placed in the charge of the Pennsylvania Mu- seum as permanent exhibits. Such a house has been rescued and refurnished in Baltimore through the generosity of Mr. and Mrs. Garvan of New York. Washington is fortunate in now hav- ing betfmful Dumbarton House, known as Belleview, purchased by the Na- & tional Society of ings of dogs and horses, the latter with their riders. Subjectively these works make ap- peal, but for that reason they are none_the less good from the artistic etcher; she knows her medium and uses it with the utmost skill. She was one of the artists represented by both prints and paintings in the Olympic exhibition at Los Angeles last Summer. Her polo etchings are exceedingly clever, but so also are her etchings of horses jumping and running, racing and hunting. She is not always, it may be thought, accurate in her drafts- manship, but whatever inaccuracy there may be in her works is not offensive, and may even have been purposely em- ployed for the sake of emphasis. There are few, indeed, who get into their works the amount of motion that Mrs. ‘Weher does. If she etches a g, horse, it seems indeed to run. Her polo ponies are represented as in extreme action, but never with a sense of sus- pended motion. Her etchings are never snapshots; her subjects are never frozen. And so with her etchings of dogs. They are not mere portraits; they have life, character, significance. Some are better than others, but one feels that all were etched, not to sell, but to please the etcher herself—and this is as it should be. No lover of horses or of dogs should fail to see this admira- ble exhibition. T Gordon Dunthorne’s, on Connec- ticut avenue, there is now to be the Colonial Dames of | first bly restored, charm- seen a geries of about vice of Luke Vincent Lockwood, one of | the leading authorities on Colonial | todian. Not only has this house been |, standpoint. Mrs. Weber is an excellent | paint by Thomas Gainsborough. In the Sears, Roebuck Galleries. Francisco Jose de Goya was born in Spain in 1746, the child of its. He grew up in a simple cottage, with practically no knowledge of the art of the past. From a monk he received his first lessons. It is said that almost immediately upon turning to art he dis- played great talent, but the record of his early years is a record of untoward happenings—street fights, brawls, flights from officers of the church and of the law, first to Madrid, then to Italy. In Rome he came in contact with Louls David, who undoubtedly exerted a strong influence upon him. In 1774 he returned to Spain, married and set- tled down. But he was always more or less of a rebel. For churches in Spain he painted many pictures; of the grandees of Spain he did many portraits, but it was in this series of etchings illustrating the fraflties of human nature, the in- cidents of human life, mal sport of his _contemporaries—those whom he | should have held in “reverent esteem”— | that his real genius is seen to flow | most freely. And how bold he was; 'represendnv the favorite of Queen Maria Luisa, Manuel Godoy, as an ass— though such he may have been. Dif- ficult may some today find it to realize that these amusing and amazing cari- catures belonged to a time so far dis- | tant and not to our present political Ta. Goya was not only a great etcher, but he was a great aquatintist, one of the greatest that the world has known, and his use of this medium is espe- cially well illustrated in this series of etchings. There is probably no repro- ductive method more technically dif- ficult than aquatint, yet Goya handled it apparently with an ease and force that few have equaled. william M. Ivins, jr, curator of prints of the Metropolitan Museum of Art, New York, writing of Goya, has said: “No other artist in black and white has ever exhibited such tre- mendous vitality as he. No other maker of prints has put into them the same exuberant, fullblooded delight in life, and, strangely, with this often almost delirious overflow of animal spirits, there is the most remarkable sensitive- ness to the significance of gesture. Who has ever made motion so moving? His very line is kinetic. He does not relate motion, he exhibits it. For sensitive- ness to the beauty of the human body, the beauty of the hideous, Goya stands alone. No one has so pictured fear.” On the purely technical side Mr. Ivins remarks on his broad massing of sharply contrasted light and shade, his ability to tell a tale with the simplest means, and reminds us that Goya is the only one who has availed himself of all the possibilities of aquatint, who has used this medium with audacity and resolution and success, in it ex- pressing powerful and fundamental things. “One of the greatest artists the world has seen, and his greatest ‘work that in black and white.” s The Goya etchings now on view (: for sale at an amazingly small price) at Gordon Dunthorne’s are from the Span- ish National Calcographle, printed from the original plates, but at a much later date than the first edition. Many, however, are excellent impressions, & few comparing with the best printed under the artist’s own supervision. Thus is brought home to us & knowledge of endowed by the late Joseph Pennell, may eventually become. HE exhibition of paintings of the Argentine Gaucho country by de Quiros in the National Gallery of Art will continue only one week longer, and those who have not seen it, or have not seen it more than once, should avail themlelzel of the {‘uxfl.her t‘mggnumtyé Signor de Quiros is one of the greal mwn, not merely of South America, but of our time, and this series of paint- ings now on view here in our National Gallery may well be regarded as epoch- marking. exhibition of Indian Tribal Arts continues at the Corcoran Gallery of Art through March 7, in order that visitors to the Capital at this time may have opportunity to view this un- precedented col avenue, The mural paintings, which are a special feature of this exhibition, will at the same time be placed on the walls of the corridors of the third floor of of New York, well known miniature iter, on the e of March 8. lecture will be illustrated by nu- ‘merous slides showing the works of the leading miniature painters both of the past and of the present in Ameri charm of the art. artists and craftsmen on the individual art or craft practiced. TI!I inaugural formed National Society of Inde- ndent ed in an im- v through March 11. open daily from 10 am. to 10 p.m., and undoubtedly attracting attention and creating interest. There is in it nothing startlingly good nor bad, nothing that sets one's pulses jumping, either from Joy or anger. It is the usual semi-ama- e works hot being m ‘worl ne al 1 hung, as is usual in exhibitions by independent, artists. But what is art after all? Certainly something more than mere ta- tion, something more than “beer and skittles”—facts. Even good painting is not sufficlent, and Heaven knows we are not satiated with good painting Art has ohn was in his 20s, & time when, it is said, he revealed more subtlety in color and texture, more style in line and form, than later. It was shown in the Paris Salon of 1881, calling forth from Henry James the comment that it “offered the slightly ‘uncanny’ spectacle of a talent which on the very threshhold of its ca- | 8T reer had nothing more to learn—the freshness of youth combined with the artistic experience, really felt and as- similated, of generations.” “I do not know,” he continued, “why this repre- sentation of a young girl in black, cas- ually holding a flower, should make s0 raise.» | These include (1) control more artistic truth than it would be easy to formulate.” How many works by these independent artists of today are of such character? How many seem to combine with the freshness of youth an “artistic experi- ence of generations, felt and assimi- lated”? How many “tempt one to be- come almost lyrical in their praise” or convey without guestion a vast amount of artistic truth”? To be sure, Sar- gents are not born every day, but it is more Sargents that we need. more who have the inward, spiritual grace to pro- duce works not only in a grand manner, but with spiritual significance, convey- ing to all those who see them ineffable beauty, even if found in homely things, in that which is grim and unlovely. ‘What is the use of puttering around ‘with any mode of expression if one has nothing to express? Sounds alone do not make music: colors and form do not produce paintings worthy of exhi- bitlon—works of art. Why should we lower our standards? HE Washington Studio Club is hold- ing an exhibition of current works at the Mount Pleasant branch of the Public Library between March 1 and 31. Alice Fitzgerald is showing her beauti- ful book containing the translations of two Gaelic poems, entirely hand-lettered and illuminated. An historical map of interesting workmanship by Eddie Groves and ts in ofl and pencil by Olga Holmes, as well as screens, hand-blocked di for material, water colors, block prints and book- cover designs represent the versatility of this young group of Washington artists. HE fourth meeting of Henry B. Snell's Concours of Professional Artists and Advanced Students will be held on Tuesday, March 7, at 3:30 p.m. at the Abbott School, 1624 H street northwest. Work in any medium may be brought in for criticism at.this time. Mr. Snell is one of the leading teach- ers in this country, as well as a painter of exceptional distinction. The oppor- tunity of taking work to him for criti- cism and hearing his criticism of works by others is exceptional. Further par- ticulars in regard to this privilege can be obtained from the Abbott School. XHIBITIONS of paintings by An- thony Thieme and Sarah Baker open at the Arts Club, 2017 E street, this afternoon, when tea will be served from 4:30 to 6 pm., Mr. and Mrs. George E. Hoover acting as hosts. Mr. Thieme. who has a Summer school Geptional suceess with: his painting, win- ceptional success , Win- ning many prizes and selling his works to private collectors and public mu- seums, securing the admiration of the public and the respect of his profes- sional colleagues. Miss Baker is a member of the fel- lowship of the Pennsylvania Academy of the Fine Arts and of the Soclety of ‘Washington Artists. One of her well known works is an altar decoration for St. John's Church, McLean, Va. I Books Received l NON-FICTION. ‘THE PALMER HOUSE COOK BOOK: 1,002 ORIGINAL RECIPES FOR HOME USE. By Ernest E. Amiet. Indianapolis: The Bobbs-Mertill Co. AMERICA GO BUST. By Louis Lud- : The Stratford Co. UPTON SINCLAIR PRESENTS WIL- LIAM FOX. By Upton Sinclair. Los Angeles: Published by the Author. A WORM'S-EYE VIEW OF BUSINESS. B; Stevens. what our own National Chalcographie, | pgp Brewer. Boston: The Christo] Publishing House. THE ACTION OF THE LIVING CELL. Fenton B. Turck. New York: Macmillan Co. GANDHI VERSUS THE Haridas T. 3 York: Universal Publishing Co. WHAT IS AMERICAN? By Ernest Hill. New York: The John Day Co. ‘THE TRUTH ABOUT BEAUTY. ByJ. Howard Crum, M. D. New York: Dodd, & Co. THE SATIRICAL COMEDY LOVE'S LABOUR'S LOST. By Eva Turner Clark. New York: Willlam Farqu har Payson. PLANNED MONEY. gl.lckett. New York: D. Co. ADVENTURES IN A MAN'S WORLD. By Coutrney Borden (Mrs. John mnn Co)' New York: The Macmil AN AMIABLE ADVENTURE. By Amy Heminway Jones. New York: The Macmillan Co. FICTION. THE FOURTH LOVELY LADY. ‘Therese Indianapolis: The NEVER SUMMER MYSTERY. By line Perry. New York: Alfred H. FOUR BLIND MICE. By Donald Jo- seph. New York: Frederick A. Stokes Co. ~ mmm ;Uz% By W. B. Ferguson. lew ] umw. MAIDS GO TO MARKET. Laurence Schwab, New York: Co- .| burn it alive.” “|of the theme of Shaw's greatest play, e to help dig and ‘Throughout ¢ REVIEWS OF THE NEW BOOKS THE MODERN CORPORATION AND PRIVATE PROPERTY. By Adolf A. Berle, jr. and Gardiner C. Means New York: The Macmillan Co. HE two authors of this investi- Eations-are both connected are connec with Columbia University, exhibition of the lately | Council production of the work, and it goes without saying that the resulting con- clusions will be the subject of con- According to the authors, the | coffee; he permitted “his mind fo take . | its time over panies ussed, up first, with pardonable curiosity and perhaps anxiety, the companies in which he may be most interested. Book I of “The Modern Corporation and Private Property” develops three important conclusions: That in and its wealth are concentrated in a few great tions and “the only corpora! t, | apparent factor which may tendency is the limit in the ability of a few human beings effectively to handle the aggregates of property brought under their control”; that ac- companying this concentration is a wide dispersion of stock ownership; but | that control of the corporations is in the hands of a few men, owing fewer and fewer. “A wide variety of kinds and conditions of con- trol situations can be found—forms derived wholly or in part from owner- ship, forms which depend on legal de- vices and forms which are extra legal in PFive major types can be distinguished, though no sharp di- viding line separates type from type. most complete ownership, (2) majority control, (3) control through a legal device without majority ownership, (4) minority control, and (5) management control.” Regarding the relation of modern corporations to the state and soclety, the authors say: “The rise of the modern corporation has brought a concentration of economic power which can compete on equal terms with the modern state—economic power versus political power, each strong in its own fleld. The state seeks in some aspects to regulate the corporation, while the the corporation, steadily becoming more powerful, makes every effort to avoid such regulation. Where its own inter- ests are concerned, it even attempts to dominate the state.” Probably the most valuable book in its fleld which has in a long time, and not with- | appeared out its sensational element. THE ADVENTURES OF THE BLACK | GIRL IN HER SEARCH FOR GOD. By Bernard Shaw. New York: Dodd, Mead & Co. ALLEGORY, not drama, has been chosen by Shaw as his medium for conveying his ideas. not very clear or decided ones, on the subject of God. Perhaps in order to mark a difference in procedure from his dramas, perhaps in order not to spoil the story, he has placed his usual essay-preface at the end. He says that, with the story fin- ished, he proceeds to “speculate on what it means, though I cannot too often repeat that I am as liable as any one else to err in my interpreta- tion, and .that pioneer writers, like other ploneers, often mistake their des- tination as Columbus did.” It causes a dash of surprise considers himself a pioneer writer on the subject of the idea of God. The great Phnnwphm of modern times, even if the ancients are ignored., at least did some groping in_that direc-| tion. What of Descartes, Hume, Kant and Spinoza, for example? And, if satire is required, what of Voltaire, who is one of the characters in the allegory of the Black Girl? It may be reason- ably suspected that Mr. Shaw has read Voltaire’s philosophical romance, “Za- dig,” and found there some of his pio- neer reflections. Since an allegory carries a story. however unimportant it may seem to an author intent on an idea, Mr. Shaw has furnished the story, as clever and paradoxical and extravagant as all of his plot creations. The Black Girl, converted by a missionary, starts out into the jungle with her Bible in one hand and a knobkerry in the other to find God. She is a child of nature who has absorbed a few simple ideas, yet her part in the conversations with the prophets and philosophers she meets is astonishingly sophisticated and Shav- ian. She begins all her inquiries, “I am seeking God. Can you direct me?” Her first encounter is with a mamba snake; her Jast with an Irishman who has, in the illustrative engraving, very much the appearance of Shaw himself. Between the two she meets deities who represent the God of Moses, the God of Job, the God of Ecclesiastes, the God of Micah, the God of Jesus and the God of Mohammed, the God of Science and the God of Art. (The engravings assist in identification.) At each meet- ing the Black Girl fails to find the cer- tainty she seeks and has frequent re- course to the knobkerry, which is her method of final argument. At the end she is told by Voltaire that the best place to seek God is in a garden. The girl thinks that too commonplace, wishes to ‘g farther afield, and pro- tests that has read a line of poetry which says that “we needs must love the highest when we see it.” Voltaire replies: “That poet was a fool. We hate it; we crucify it; we poison it with hemlock; we chain it to a stake and “St. Joan.” Then the more or less mad Irishman comes upon the scene, with a spade, and turns to practical = 1“"”;“;3" against all Pl cal unres taire arranges -mn between him and the youth. ful seeker for truth and she is bidden to bring up children. the main allegory, Shaw makes use of opportunities to introduce satire on behalf of some of his favorite reforms. The Wandering Jew tells the Black Girl that if God does not come By Sir Basil P.|ing Appleton HE WENT AWAY FOR A WHILE. Max Miller. New York: E. P. Dut- ton & Co. AX MILLER'S last book, “I Cover TR ey § g i EEIE {agt fxie g T £ constantly | al- | I th to find that Mr. Shaw'| Here is a reminiscence | W! , | Washington Soclety of By Sarah G. Bowerman Bernard Shaw’s Latest Allegory. The Reporter Who “Went Away for Awhile”— The Balkans and the Russian Revolution. day. So “he went away for & while” and gaye up the constant action of which he was so He saw the sun—the same sun—rise and set day after day; he listened to the surf of the Pacific wash up against the cliffs; he dreamily watched the water boil for his & meal.” And at intervals he thought of the fellows in town who were getting up and hurrying to work, while the street cars and trucks were banging past them and the traffic crowd grew thicker and thicker. When he overcame the habit of watching the clock, he began to be happy. “The longer he did not see people, the more self-sufficient he began to feel within himself.” He knew what return would be like, could visualize it all, but while his money lasted he was free from the demands of practical life, a vagabond, & philosopher. This is a fragment of autoblography, written with the charm of a retiective essay. THE INCREDIBLE BALKANS. B Konrad Bercovicl. New York: G.P.| Putnam’s Sons. ELGIUM, the Balkans, Kentucky, are all known to history as bloody ground, scenes of strife, meeting places of hostile elements, In the Balkans started the World War and the Balkans are today one of the danger spots of Europe. But there are so many such spots. In the Balkans the Turks and Christian nations have met, not amica- bly, producing bitter religious conflicts. e Balkans, dynastic strife has been almost as savage as reufig‘u dynastic murders have not infre- quent. On Balkan territory. Russia | and Germany have conterded, not al- | | ways by warfare, sometimes by masked diplomacy; Russia’s motive has been | the possession of Constantinople, Ger- | many’s to prevent such possession. Mr. | Bercovici has been able to write a book | on the Balkans which is full of know edge and understanding, as he is him- self a Rumanian. His style is not academic, but it is vigorous and vivid, adapted to the romantic and in g events he relates. Especially interest- ing are his sketches of important Balkan personalities—Mustapha Kemal. Ahmed Zegu, King of Albania; Eleuth- erios Venizelos, Queen Marie and King Carol of Rumania, and the famous gypsies of the Balkans. The one-time far-away country of the Balkans, seeming to us almost legendary, is today almost at our doors. “Four thousand miles of ocean, rivers, forests and mountains separate the United States from the Balkans. This distance, at one time considerable, can | be bridged today by an airplane in 40 hours. * * * The shot at Sarajevo plunged | 120,000,000 people of this (our) country | into the European war.” Balkans | cannot safely be relegated to romantic novelists like Anthony Hope for “Pris- | oner of Zenda” stories of intrigue. “We can no longer lean back and laugh at the antics of people and their rulers reluctant to play fair with themselves | and with the civilized world. Yet, like the poor, the with us.” we have the opportunity both to inform ourselves about the Balkans of the past and present and to obtain some allow- able entertainment from the comic | opera elements in Balkan affairs, which there is no attempt to disguise. Some of the chapter titles are: “Bad | donian—Good strife and being a Bulgar Mr. Ber- covici says: “Since the day Stambu. liski was killed, more than 20,000 Bul- garians have been slain on the streets of Sofia or Varna for one political rea- son_or another. Ten a day, week in week out, month in month out, year in year out, is the usual rate.” Washington, the Nation's Capital. For the benefit of inaugural visitors to Washington the Washingtoniana Di- vision of the Public Library presents| the follawing list of books about the National Capital. Description. Seventy-five Years of White House Gossip; from Washington to Lin- ?g!"l’;. by Mrs. E. M. Colman. E.8C713. | White House Gossip; From Andrew Johnson to Calvin Coolidge, by Mrs. E. M. Colman. E.SC713w. 1927. ‘These two volumes cover the social and domestic life of the White House from Wi n to dge, with in- teresting sidelights on the famous po- litical figures of the day. Walks About Washi by F. E Leupp. G859W.L576w. 1915. ‘This book, written by one of the best- known newspaper men of his day, com- bines history and tradition in a very delightful way, at the same time giving accurate infc The attractive lormation. {llustrations are by Lester G. Hornby. and Present, ‘ashington, = Past Charles Moore. 1929. G859W.M782. An interpretation of the present building program in the light of earlier plans, d in an interesting way by the chairman of the Fine Arts Commis. sion, and illustrated with original sketches from the hand of E. H. Suydam. The Charm of Old W Rainey. Illustrations by Seward tht‘xt'?m. GHQthga 1932. essays on lc 3 cach with 15 own DIACK” and. white drawing. Rider’s Washington: a Guidebook for ‘Travelers, Compiled by F. T. Cooper. A. F. Rider, ed. G859W.R433. 1924. ‘The most complete guidebook to th city, with much historical ma DS and plans and a vaiuable bibl! phy, but no illustrations. One of the series of so-called American Baedekers. Engineers. ning and Buil the City of an m.dlmb”; ity by Ada Plan- ‘Wash- Newell. give wanted information. ‘Washington, 8 Not Too Serious History, ‘b! 2 l"pet' man's mt‘lfi.fil‘::l n - W‘m. including incidents and mmmmmmm 1 histories. Attractive illustra- by | trict of Columbia. FLIGHT FROM Rachmanova. Day Co. PROBABLY because literary hoaxes have been common of late and be- cause tales of the Russian Revolution are easy to exaggerate, the American lishers present with this auwbl:"ri Alya ‘TERROR. By New York: The John pub] raphy of a 21-year-old Russian afdavits signed, respectively, by the German publisher who originally pub- lished the book, saying that he has seen the diary on which it is based and be- lieves it to be authentic, and by Alya Rachmanova herself, declaring that her story is a true record of actual ex- perience. The author made her escape from Russia some years ago and is now living in Germany. The introduction is by Gleb Botkin, son of the late physi- clan to the Russian Imperial Court, who was involved as a source of informa- tion in the case of the supposed Grand Duchess Anastasia. He describes this diary as “so obviously, so grippingly true that for a Russian it is impossible | Y| to read it without living every word | of it.” It is a tale of horror and hruulty.! of carnage, pestilence and death. The personal experiences of the narrator | and her knowledge and rumors of what | went ‘on about her mingle as in a bad | dream. Her sadistic friend, Griselda, | whom she expects to see in a mad- , becomes & member of the| ‘Tcheka, dresses in men’s clothes and revels in the killings in which she par- ticipates. Epidemics of typhus and cholera make the black picture blacker. | Alya herself has a severe case of typhus | and while she is in the isolation bar- racks a peasant girl, whose head has been shaved in accordance with the Tegimen for typhus patients, commits suicide because, she shrieks, “My Vanrya won't me without my braid.” ‘When the students in an experimental psychology seminar are asked “wherein the meaning of life lay for women,” many of them say that they want to work for the good of humanity; others say that life holds no meaning and that they are merely waiting for a suitable op- | portunity to commit suicide. Through it all, the girl Alya, 17 when the story begins, holds to her belief in life, her wish to live fully, “to remain & per- sonality, too, and devote myself to study and learning.” If this may be accepted as a true story, it is another remark- | able personal document of the Russian Revolution. THE ROOT AND THE BOUGH. By Francine Findley. New York: Al- fred H. King. T the time of the production here of Eugene O'Neill's “Mourning Be- | comes Electra” some New Englanders were heard to complain that Eugene O'Neill did not occasionally select some other section of the country than New England as the locale for his degenerate families. Mary Wilkins has depicted in her stories many dour, sour New Eng- landers, but Martha Ostenso has placed her creations of the same type in the Middle West. Francine Pindley assigns her Burdett family to upstate New | York, where & “bleak and dark, faintly rolling” landscape, “smudged with growth of * * * stunted pines and firs, greets Celia's Southern eyes as she looks from her bedroom window on the day of her husband’s funeral. She has come across the country from California | to the farm homestead established by | stern Adam Burdett, because she has no other refuge. She is welcomed with serious acceptance as the widow of the doctor son David, but there are no kisses, no effusions over her or her baby Merry and no one sees in her grief and weariness any reason why she should have coffee in bed the next morning instead of coming down promptly to breakfast, so that the kitchen may be cleared at the usual time. Adam and Saral Burdett have had 13 THE PUBLIC LIBRARY e Caemmerer. G859W.C 11, A profusely {llustrated “history of t! development of the National Capital Written and published under the direc- tion of Congress, by H. P. Caemmerer, secretary of the Commission of PFine Your Wi and Mine, by L. P. Latimer. F859W.L344y. 1924. ‘The most convenient book for the vis- itor to Washington and students to own, since it contains in one volume histori- cal sketches of the city, with excellent descriptive matter and unusual illus- trations. Our Capital on the Potomac, by Helen Nicolay. F859W.N5180. 1924. A very unusual history of Washing- ton. e greater part of the book is devoted to telling how the Government was established and how the city was “ | planned. People and incidents known to the author are introduced through- out the book. District of Columbia, Its Government and Administration, by L. F. Schmeckebier. . 1928, A scholarly and comprehensive sur- vey of the political status of the Dis- This study serves as & manual of information for those in- in which the people have no direct rej sentation. Standard History of the City of Wash- ington, by William Tindall. F859W. ‘T493s. 1914. Compiled from a study of original documents. The latter half, which cov- ers up to 1914, forms an ex- cellent supplement to Bryan. Environs. Mount Vernon. Its Owner and Its Story, by H. H. Dodge. G863M.D66. 1932. ‘The resident custodian of Mount Ver- children. Adam was not originally farmer. There is a mystery about early life which even his children d not understand, and his widow never talks. In buying and upon his large Northern farm intended to found s patriarchal fam- 1ly of landowners. His sons ahould ¢ his dsughters farmers' Celig is the outsider, not a Burdett, and it 4 through her eyes that the Burdetts are seen. She is drawn into the lfla?j struggle, into the mystery and morb! 1eactions which are the family at« for her by her family, says that Adam was perfectly sane and knew what h¢ though “God knows son,” and asks her fiercely if she wants Merry to grow up like Ellen and Orpha, who have accepted their lot and have almost ceased to be able to feel. It is, poetically, Merry, a smiling baby with dark arched brows like Rose's when the story berins, who, after many years, when she has won flashy success, dis- covers the real meaning of old Adam's endeavor. He had tried to insure peace and happiness for his family by a re- turn- to fundamental simplicities and had failed. His wife Sarai had always understood, but had never been able to tell her unsympathetic children, and in the end his daughter Rose, outcast of the family, and his granddaughter Merry, alone of them all, come to un- derstand. The theme is a big one and, in spite of some drops into melodrama, it is well developed. PHILOSOPHY FOR EVERY DAY. By Clarence Dan Blachly, Ph. D, ‘Washington, D. C.: Washington Cole lege Press, Takoma Park. | THE author of this little volume of verse is an economist with the United States Tarif Commission. He is the author of many scholarly books on capital and labor. housing. crime and kindred social subjects and is the principal author and editor in chief of the Dictionary of Tariff Information. Poetry is his avocation and preceding this volume he has already published a volume of poems in 1928. “Philosophy for Every Day” offers a philosophy of beauty—the beauty found in nature and in art—even more than it does & phiy losophy of reflectiveness. In a few cases the poetic aspect of everyda: things has furnished a theme, 1 “Movies,” “The Fountain Pen. ‘The Nurse,” “The Doctor,” and *Automo- bile Song.” The influence of German literature appears in some of the poems, especially that of Goethe. Others are from the Japanese, as “By the Holg Sea,” “Memory,” and “Only Sow!® Some of the most delicate in their ape preciation of nature are “Calif Coast, rysan and “New Jersey Marshes.” One of the most thoughtful of the poems, which reflects the author's economic under- standing, is “The Pauper’s Curse"—the curse of one who has through patron- izing almsgivers been robbed of will and self-respect. THE CAULDRON BOILS. By Emil Lengyel. New York: The Dial Press. RECENT Associated Press dispatch from Warsaw stated that should relations with Germany become more strained on account of Hitler's policies as chancellor, there would be considerable likelihood t Ignace Jan Paderewskl would be Poland’s next President. The | election will be in June. Marshal Joseph | Pilsudski, constitutional dictator, | said to be in favor of the recall of Pa | erewski. Emil Lengyel, author of “Hit- ler,” has written a very timely book on | Poland, in “The Cauldron Boils.” The | Polish cauldron is not the only one in Europe which is at the point of bof | over, but it is an important one. Al | the various problems which contribute | to the general Polish problem are dis- cussed by Mr. Lengyel, who has spent much time in Central Europe, studied political movements and interviewed most of the men who are there attempt- ing to guide national and international affairs. The Polish Corridor, the mean- ing of the Free City of Danzig, the Jewish question, bolshevism on the Pol- ish frontier, the strife between Lithuan- ians and Poles, the discontent in Upper Silesia, are all discussed informatively, | not argumentatively. We are told that ) laughs at the name of the and the questions are ed: “What is true about the claims that Poland is the greatest failure among the contemporary nations and | that her doom is sealed? Is Marshal Foch's prophecy coming true that in the Polish Corridor the next war will’ Abbott Art School Exhibition of Students’ Work 1624 H St. N.W., Corner 17th ADVERTISING--ART ey NIenG Classes—tow " Tultions LIVINGSTONE SCHOOL 33 Years in Washington, 1226-28 Eye St. NA. 9070 Critcher School of Painting and Commercial Art THE CORCORAN SCHOOL OF ART Tuition FREE Annual Entrance Fee, $25.00 % Felix Mahony National Art School 1747R. L Ave. NAT. 2656 Hill School of Art Sculpture—Painting—Etching € Dapont Circle Nerth 1271 Most talked about novel of the bour NN VICKERS Bl 2030 Dentioiagy B