Evening Star Newspaper, March 24, 1935, Page 54

F—4 THE SUNDAY STAR, WASHINGTON, D. C., MARCH 24 1935—PART FOUR. VIEWS AND REVIE By Sarah Bowerman. FAREWELL TO REVOLUTION. By Everett Dean Martin. New York: W. W. Norton & Co. HOSE who look upon revolution as a cure for social injustice and the inauguration of a new era of peace and plenty for all have not learned the les- scns of history and will also not be pleased with Mr. Martin’s book. He is a realist and reasons from past to present, not a romanticist carried away by emotion, such as the hatred of a whole class and fanatical devo- tion to unworkable slogans. His first chapter discusses the nature of rev- olution and arrives at the defini- tions: “A revolution occurs when a faction in the community without sanction of law resorts to armed hos- | ulities in the attempt to constitute itself the governing force in society.” “A revolution Is a social earthquake.” “A revolution is a barbarian invasion and conquest.” “Revolution is the supreme exhibition ot mob behavior.” Proponents of revolution will not like these definitions. Present-day Tev- olution, Mr. Martin says, “is crowd movement against liberal democracy. It openly avows itself as such and in this respect both Communist and Fascist are the same.” Tracing the course of revolutions throvgh the three cycles of revolu- tionary activity in history, the first ending in the despotism of the Caesars, the second with the Treaty of Westphalia in 1648, and the third beginning in England in 1642 and ex- tending to the present time, Mr. Martin seems to indicate that all his- tory is just one revolution after an- | other. Certainly ever settled anything permanently. It is the thesis of his book that “we are at the present time at the close of a major cycle of revolutionary ac- tivity.” The proot which he adduces to show that the twentieth century has thus far been in a revolutionary zone is hardly necessary in order to convince most of us; we could wish that his proof that the period of fare- well has been reached were more con- | clusive. Mr. Martin deduces certain char- acteristics of revolutions from his survey of history. They are usually based on false dilemmas, because peo- ple have stopped thinking, as the de- | lusion during the Reformation period | that a community must be either all Catholic or all Protestant. They ordi- narily begin with lofty ideals and end quite differently; the aim of the emancipation of humanity is a com- mon beginning, reaction or dictator- ship a common ending. The Russian, Italian and German revolutions of the present century illustrate this. TIronically revolution of the twentieth century has risen to destroy nineteenth century liberalism. All that is now left for revolution is “the repudiation of centuries ot liberalism and a return to a paternalistic regimentation of the masses . . . rationalization as a requirement of modern industrialism.” ‘The masses of people who bring about a modern revolution thus become the slaves of the industrial dictatorship which it establishes. Mr. Martin’s last two chapters are on “the futility of revolution” and “revolution vs. liber- | — :but he has seen dirtier places and ' agreeable, to appeal to her husband's people in China and the Andes. alism,” in which he defends a philos- osphy of real human freedom, based on intelligence, education and the ability and liberty of people to do their own thinking. THE HILL OF LIES. By Heinrich Mann, New York: E. P. Dutton | & Co. HE seaside village of Warmsdorf. | on the Baltic, was a pleasant no revolution has | found other workers no less willing to talk, unsolicited, to tourists about their discomforts and grievances, when they were at a safe distance from official ears. A “wonderful” factory kitchen, where workers’ meals were prépared in quantity, he considered better than anything Russia had under the tzars, but no better in its equipment than similar places in the United States a .decade ago. He was impressed by the seven-story building in Moscow occu- pied by the American Embassy and Consulate and by the “swarms of l Uncle Sam’s minions there,” suggest- | | ing no worry on the' part of the tax- | payer at home, The equality of the | sexes, which is boasted of as so com- plete in the Soviet Union, he found as advertised, but, being old-fashioned, wondered about the advantage to women in being on an equality with men in shoveling sand, digging sub- | ways, carrying building stones, run- ning tractors and carrying countless | | other jobs imposing heavy physical | | strain. He admits, however, that the Russian women he saw, the young | ones, looked robust, if not beautiful, | as if they throve under manual labor. | He doesn’t mention seeing any happy. | healthy old people. As for sanitary | | conditions, “If cleanliness is next to | ! godliness, the U. S. S. R. is indeed | well on the way to a godless society,” | | | | | | | @ BOOKS OF THE EARLY SPRING Lessons in History From “Farewcll to Revolution“—Harry, A. Franck Gees Vagabonding Again—"A Man Called Cervantes,“ by Bruno Franl(. yond the known facts, but in har- mony with gleanings from Cervantes’ own writings and the social history of the period. Striking parts of Mr. Frank’s book, not directly carrying on the story of his hero, are his description of the wretched capital of Madrid, a market town of one-story | clay hovels, dominated on the north by the gloomy mass of the Escorial; of Rome, brilliant by contrast; of the morose, diseased zealot and hermit of the Escorial; Philip II, implacably and blindly vlanning his armada to at- tack England and mulcting his people to pay for his galieons. Mr. Frank is one of the middle generation of German writers, which includes Franz Werfel and Arnold Zweig, and he now lives in exile in the south of France. THE POACHER. By H. E. Bates. New York: The Macmillan Co. LUK.B BISHOP liked the excitements and dangers of poaching as much | as he liked its harvest. The keeper was his natural enemy, as he was of Luke's father, who had had the luck never to be caught. The natural ene- mies of Luke’s mother were the baliffs, who were continually evicting her and forcing her to turn her poor furniture out on the street and, almost as dis- Bruno Frank, writer of the biography, “A Man Called Cervantes. A MAN CALLED CERVANTES. By Bruno Frank. Translated oy H. T. New York: The Vik- sister Hannah for help. Then one night when father and son were to- | gether in the dark shadows of the WS OF LITERAT “New Mexico Landscape,” by Kenneth M. Adams, awarded the fourth Clark prize and Corcoran honorable mention in the fourteenth biennial exhibition. farmers. As a rural community grew up, jealousies and friction”also grew among neighbors, who learned slowly that co-operation pays better than antagonism. Anna, who had been largely responsible for pulling John up by the roots, had occasion more than once to regret her action, which in the end almost wrecked her mar- riage. Almost, but not quite, and at the end of the story they are still hoping that the pext year will bring better luck. ‘““Maybe next year it will be different,” Anna sobbed. “It can't hail every year, can it? Can it John?" And John soberly replied, doubtful | about the possibilities of the weather: “Maybe next year, Anna.” WHEELS AND BUTTERFLIES. By W. B. Yeats, New York: The,E Macmillan Co. | where a cow was camping and chil- dren were being bathed. It was com- forting to remember that to the peon sickness comes from God as punish- ment or from the devil as deviltry, and can be cured at a shrine or by charms. They became convinced after all their rambles that the Mexicans, though they have little, and want little, even in deep poverty know a contentment and satisfaction in small things which we in the United States have never achieved. So they came away with a lasting impression of “bright Mexico.” GARDENS AND GARDENING: The | Studio Garden Annual, 1935. Ed- ited by F. A. Mercer. New York: ‘The Studio Publications. ACH year the Studio Garden An- nual seems more rich in its beau- OME of William Butler Yeats' most | tiful Plates and happy descriptions recent plays are included in this volume—"The Words Upon the Win- of artistic gardens, large and small, and of unique bits from many other gardens dow Pane,” “Fighting the Waves,” | those who are planning new gardens “The Resurrection,” “The Cat and |or the never-ending improvements in the Moon’ They the music to “Pighting | old ones. show, without | diminution, the Yeats characteristics | many illustrate beautiful gardens from as localities as possible and of | famillar through his earlier work— | great variety in design, planting and symbolism, mysticism and interest in | contour of land. the supernatural, a philosophy of life removed from the material and prac- tical, and lyric beauty of expressicn. All of the plays have been played at the Abbey Theater, Dublin. “The Words Upon the Window Pane” brings back through a seance in a house in which Stella once lived that tragic and mysterious couple Dean Swift and Stella. the woman who was perhaps his wife, perhaps his mistress, perhaps his friend. but whom he treated with the Wtmost unkinduess, whether or not he loved her. That other woman who suffered from Swift's egotistic brutal- ity, Vanessa, also appears in the play. ghting the Waves,” a one-act play accompanied by music, is an elusive fragment about the traditional Celtic hero Cuchulain, allied in subject and | manner to Yeats' earlier blank verse plays, “Deirdre,” “At the Hawk's Well,” “The Green Helmet,” “Cn Baile’s Strand” and ‘The Only Jeal- ousy of Emer.” “The Resurrection” presents a Hebrew, a Greek and a He has also taken | into account climatic conditions and the rotation of flowers with the sea- sons, for “many small gardens suffer | because all the effort is concentrated | on one particular season, with the re- sult that for a short period the gar- den is a profusion of loveliness. but for the remainder of the year has little or nothing to show.” The volume includes, in addition to text accompanying the nearly 200 plates, articles by experts on selected subjects. D. B. Crane, chairman of the National Chrysanthemum Soci- ety's Floral Committee, writes on chrysanthemums: Richard Sudell, fel- low of the Institute of Landscape Architects. on the herbaceous border; Clarence Fowler, fellow of the Amer- ican Society of Landscape Architects, on the decorative value of ferns, and Eleanour Sinclair Rohde on the Spring garden. Some of the most at- tractive illustrations are of a ngtural- ized brook in an Englewood, N. J. garden; a rock terrace garden at parkland, where they had mo right to | Syrian who have come from the tomb | Manchester - by - the - Sea, Mass.; a be, & shot rang out, then a second shot and the elder Bishop was finally of Christ and found him gone. “The Cat and the Moon.” also accompanied Spring garden Scarsdale, N. Y.; vith formal pool at a town garden in It is of inestimable help lO' The editor has tried to| By Leila Mechlin. fourteenth biennial exhi- bition of contemporary Amer- ican oil paintings which opened in the Corcoran Gal- lery of Art yesterday—‘Var- nishing Day"—with a private view and reception, is the largest and most comprehensive of the series inaugu- rated over a quarter of a century ago. It comprises 428 paintings by 353 | artists and occupies not only all of | the nine galleries and the atrium on the second floor of the main building, but four galleries in the wing. ‘The jury this year, composed of Jonas Lie, George Harding, Victor Higgins, Henry Lee McFee, Richard Miller and, ex-officio, the director of the gallery, C. Powell Minnigerode, was especially liberal, admitting 85 more paintings than were hung two | years ago. It is understood that not more than two exhibits will be hung by any one artist and, with but three exceptions, this rule has been ad- | hered to this year—these being the chairman of the jury, Jonas Lie, who | is also the president of the National Academy of Design; Thomas H. Ben- | “Phyllis,’ holding a little white dog in her arms, | which is exceedingly freshly painted with the spontaneity of one who sees and knows. The President’s portrait has obviously strength and dignity but on the part of both painter and | sitter seems self-conscious. | In gallery No. 1 in the wing, also in | & place of honor, hangs a three- quarter-length seated portrait of the Vice President, Mr. Garner, by Eben Comins of this city, painted from coplous notes rather than sittings, and very spirited—an excellent work. Cecilia Beaux, whose portraits stand among the best of all time, is represented here, by invitation, by, her recently painted portrait of Dr.| Rufus Cole, painted for a particular | place in one of the great New York | hospitals and lent by the Rockefeller | Institute for Medical Research. She|SWing from has represented the great physician | standing against a white wall, his right hand resting on a small table. Over his business suit he wears a white linen coat—hospital garb. It| is all in a high key and glints of sunlight, presumably refiected. play across the canvas, adding vitality as well as the illusion of atmosphere. " by Richard S. Meryman of Washington. Included in the Corcoran Gallery's biennial exhibition man; ence M Area,” by Andre Hogue; “Choir Prac- tice,” by Lauren Ford, and “Western URE AND ART THE EXHIBITION' AT CORCORAN 'Fourteenth Biennial of Contemporary Oil Paintings Is Large and Comprehensive Display-~Famous Artists Represented. The Prize Winners and Other Pictures. itely, in some instances on wood rather than canvas. This brings o attention the matter of texture, a very important matter which of late has had too little at- tention among the painters. One of the most offensive characteristics of the works by the so-called modernists has been that there has been no ren- | dering of textures, and the surfaces on their canvases have in this particu- lar repelled rather than attracted the sense of touch. This is true of a good many paintings in this exhibi- tion. There is a tendency to render all surfaces the same—rough or smooth, woolly or hard—regardless of actuality and still more of charm. There is also a strange revision to realism—the pendulum is seen to the abstract puzzle- pictures of Karl Knaths, Olive Rush, Charles Demuth, Conrad Kramer, Stuart Davis, to paintings such as “Road to the Beach,” by Roy Hilton; “Winter and Roses,” by Hobson Pitt- “Riderless Racers,” by Clar- Carter; “Drought-Stricken ton and Doris Lee—the works of the two last being very small in dimen- sions. On the other hand, 69 artists are each twice represented, while 281 are represented by a single exhibit. The representation extends territori- ally from Maine to California with a preponderance, however, from New York and Philadelphia. Apparently this jury was hospitable not only in the matter of numbers, but also with regard to the charac- ter of work accepted. Wide diver- gence in style and ideal is to be noted. The gamut runs from the most con- caught. Not long after, the keeper /by music, is a dialogue between a | Hampstead, London, and the Murillo| servative to the extreme. We have In spite of these enough place though it was always |life as romance; Cervantes is merely | story, though it has many of the ele- in danger of losing some of its | his creator. There was need for some | ments of suspense and terror which straggling cot to the encroach- |Such book as this of Bruno Frank, characterize the type. It is the story e vaves St ":,, fts fsher | @ biographical novel, to gather together | of the life of Luke Bishop, his work | folk from time to time never came |8l back when they went to sea. Lehning family is the center this story by Heinrich Mann, brother | of Thomas Mann. Father Lehning | was a farm laborer and Mother Lehn- | ing also worked on the land, but they | and their many children lived in a thatched cabin close to the sea, where | 1 the known fragments about the|at the Valley Farm, his love for Lily | The | life of Cervantes and then to add Thompson, their marriage and their | of | enough delightful probable details to children, who were ashamed of their make his versonality as living a< that father's shady past. of the master of Sancho Panza and the World War Luke was over 60 and | among the plays to be filed, when the lover of Dulcinea. Cervantes lived | a grandfather, and his legs were stiff | (pej; g in the Spain of Philip IT and the when he got up in the morning, and | . bige e ix over, u W shelves Armada, in the time of Elizaveth of | then he was caught and sent to prison | England and Shakespeare. Mr. Frank | for a dead rabbit which he hadn't At the end of killed. It was the supreme irony of | { DON QUIXOTE is real to us; Cer- | was found dead in a ditch and Luke | blind begzar and a lame beggar at vantes is shadowy. Don Quixote was suspected. is the vagabond idealist who aw all | events, “The Poacher” is not a mystery St. Colman’s well. JAYHAWKER. A play m three acts By Sinclair Lewis and Lloyd Lewis. New York: Doubledly,‘Dornn & Co. bit of history places “Jayhawker” of manners and customs and social history. It was first presented in Washington, in October, 1934, and | inality and skill In making the best | are steadfastly following tradition. Gardens at Seville, with their semi- tropical foliage and brilliantly chequered faience benches. For orig- of poor opportunities, the most suc- cessful garden illustrated seems to be one on Broadway and One Hundred ! and Fourteenth street, New York Clty.i‘ a restful, shrub-inclosed nook vmhml | {[JLTRA realism, combined with & g, few steps of traffic and tumult. here the abstract and the real, works by the innovators who think they are breaking new paths, and by those who It is a very interesting and thought-pro- voking display. Great changes have come over the face of painting in the | last double decade in this, as well as other countries. At first they came slowly, but in the last few years they | seem to have rushed upon us with WHAT HAPPENS IN MY GARDEN. By Louise Beebe Wilder. Illus- trated. New York: The Macmil- | lan Co. | bewiidering speed. These changes are all reflected in this current exhibition and here, better than elsewhere, they may be analyzed and studied. Here one may not only gain acquaintance One of the strongest and best portraits in this exhibition is that of Dean William Marshall Warren of Boston University by Edmund C. Tarbell, a recent work. in which one finds all those qualities which set apart and distinguish the works of the masters, including apparent ease in execution. Mr. Tarbell also con- tributes a large pictorial canvas of his grandson, little “Edmund on His Pony,” which will undoubtedly make | strong appeal. From Jean MacLane | comes an excellent portrait of her painter husband, John C. Johansen, who shows himself a portrait of “Three Sisters.” lent by Mr. and Mrs. John Spalding Flannery of this city, which is quite in the traditional | manner. Of special interest are other por- traits of artists. Wayman Adams contributes a small double portrait of Jonas Lie and his daughter, rich in color and tone, excellent in like- ness, and a larger, but more sketchily rendered canvas of his late colleague, John Noble. Sidney E. Dickinson contributes a portrait of Harry Wa- trous. one time president of the Na- tional Academy of Design and painter of a remarkable still life—a renais- sance statue of the virgin, “Marie Still Life,” by Arnold Wiltz, all of which, with possibly the exception of the last, are essentially illustrative— factual. The factual is also evident in the more broadly and loosely painted canvases of certain painters who have taken as themes coarse and vulgar aspects of contemporary life such as Glackens, Miller, Nordfelt, Marsh and others. It takes a Rembrandt or a Daumier to exalt such scenes—and clever as these painters may be they fall far short in this particular of greatness. They offer no compensa- tion for the offense. The first prize and Corcoran Gold Medal went this year to a painting of a blacksmith, **‘Red’ Moore,” by Eu- gene Speicher. than whom none stands higher today among American figure painters nor has exerted stronger influence upon contemporary art. But this is not one of his best works—not comparable, for example, with his portrait of the actress, Kath- arine Cornell, or his “Mile. Jeanne Balzac,” in the Cleveland Museum. It is a portrait of a workingman, painted well enough, but without the least spark of inspiration—nothing which recalls the eye or stirs the emotion. Perhaps the change is in the times. Blacksmithing is by no means the important, lucrative work it once was. A somewhat similar portrait study of a workingman by Arnold Blanch hangs in another gal- lery, and the dreariness of the theme the promenade stopped and the stone | OPens his story with a colorful picture of Madrid, from which were governed : : ;:en}t::lr;lkgm::lzi:E;a;n‘:le:;heg:ewiiy::; “Spain, Burgundy, Lorraine, Brabant | in his younger days when he could | Ume of the play is 1861 and th | place Kansas. During the warfare whose story this is, child of the soil scene is an interview between Philip | describes the country in all seasons | OV€T the slavery question, when Mis and the sea, who loved the stormy + . ith ev ore skill sourians wanted to make Kansas safe waves, the biack pine woods, the flat | 1I &nd the cardnal-legate sent by the | With even m 2 for slavery and Kansans, most of farm lands stretching to the horizon | POPe to convey his condolences upon ‘ them, wanted to make it safe for and the Legenberg, or Hill of Lies, “free soil,” the term “jayhawker” was rising behind her father's cottage, was { YWITH knowledge which is the result | With present-day trends, but trace g . _|them to their source or sources, esti- | of study, observation and unlim- | ;o ¢1ne their strength and significance. ited patience in experiment and wn.h} It has been often said that art | Daniel Garber, who is best known | n informal and infectiously enthu- |reflects life, and undoubtedly it does, f;u:mi:“d’f*‘?:prg;’:g ‘})‘fmf‘“bvhl:» | siastic style, Mrs. Wilder writes of her | Put life is many-sided and never has | > = s = gargen STkl mbat h.pp::s there | B0 art completely comprehended it. | three-quarter-length portrait of Wil- during the changing seasons, She has | The art of the early Renaissance in | iam L. Lathrop, painted in & mod- | previously written “The -Pngrnm?n"y was religious, not political—the | €FR manner. suggesting animation. | " “ | but of pronounced strength. On the Path” and “Adventures in a Suburban | 8t of Greece set forth the Greek | other hgnd. Garber's lnngdscape. “In :‘ afterward opened i New York. The de Bourgogne"—included in this ex- | his life, for there had been many times | hibition and given a place of honor. FUGITIVE. By Louise Redfield | as common in American newspapers sent away to town to be apprenticed to a dressmaking establishment. The uprooting nearly wrecked her life, but not quite, for the story has a happy ending as far as Marie is concerned, though it is bad enough for some of the others. Some of her childhood playmates came into her city life, two for ill, one for love. It was a murder ‘which finally brought her back to Warmsdorf. The story is about sim- ple people and their troubles and the force of Mr. Mann's style is the force of simplicity. A VAGABOND IN SOVIETLAND. By Harry A. Franck. New York: Fred- erick A. Stokes Co. 'HE veteran vagabond of the Andes, Central America and China turned tourist when he went to the U. S. S. R., not only tourist but third-class tourist, or “special category,” as the Russians call it—this not only on ac- count of the depression and his old- fashioned number of children. but also in order that he might “reconnoiter for more timid souls.” He apologizes for writing a book about Russia after being there only thirty days, but says that Will Durant, Carveth Wells, Alex- ander Woollcott and Will Rogers have done it, so why shouldn’t he? He might have added many other names of authors whose period of incubation for their books was brief and ulso have commented on the fact that many European writers discourse at length on the United States after little more than a week-end trip over here. Har- ry Pranck writes, as usual, in infor- mal, gossipy style about his own ex- periences and observations, drawing comparisons from the many other countries he has visited. He is neither a booster for Bolshevism nor a knocker. He was and still is, how- ever, convinced that the United States provides for its citizens a far greater degree of comfort, health and free- dom than the U. 8. S. R. does for its citizens. Significant and interesting bits in his crowded thirty days may be culled almost anywhere from Mr. Franck’s book. In one hotel a tired, dissatisfied, hungry and unshaved-looking elevator boy confided that he had been work- ing for fourteen unbroken hours and did not know when he would be re- lieved; yet Mr. Pranck was often as- sured that the seven-hour day or less Was universal in t.he‘ovm Union. He Harry C. Franck, author of “A | Vagabond in Sovietland.” the death of the mad Infante Don Carlos, heir to the throne. The sec- ond scene introduces Miguel de Cer- vantes, an applicant for a post to teach Spanish to Cardinal-Legate Acquaviva. He was successful and his appointment took him to Rome and was the oveginning of his adventures. He was about 20 at the time. ‘The tutoring duties of Cervantes in Rome were not arduous and left him abundant ‘ime for writing verses and too much fer love affairs. He became violently ill of a fever, but before he had fully recovered, joined the forces of Don John of Austria and took part in the naval battle of Lepanto, where he lost his left hand. On his way back to Spain he was captured by pirates and his experiences with them are related, probably with amplifica- tions, in the long episode of the Chris- tian captive, Capt. de Viedma, m “Don Quixote.” The marriage of Cervantes, not extraordinarily happy, his ex- communication and imprisonment, which gave, him chance fo write “Don Quixote,” all elaborated be- Peattie. Indianapolis: The Bobbs- Merrill Co. ACKETY America, not her favorite | quiet Provence, is the scene of | this last novel of Mrs. Peattie. An| unnamed woman, desperate, rides and | rides on a street car, haggard and un- | seeing, until the car reaches the end[ of the line. Then she walks along a weedy path and comes to a gaunt, mansarded house standing alone on | the edge of the country, the last house | in the city, it must be, she thinks. A | card in the window says “rooms,” she rings, and takes a room, next to that of Alexander, revolutionary lecturer in a night school. Returning from | his classes, where, afterward during | the dancing, he has seen fresh and| pretty Rose Abbott and has almost frantically begged her to marry him, Alexander finds that the mysterious woman in. the room next his has swallowed the contents of a bottle of laudanum. It is rather hard on Alexander, when his mind is full of Rose, to be obliged to work half the night to resuscitate a “hysterical rich woman come to kill herself over her artist lover.” This identification is the doctor’s hazard. Mrs. Peattie de- velops her tragic tale of desperation, involving Zoe, Alexander and Rose, with mature skill, avoiding melodrama in treatment, though the situation makes it seem almost inevitable, HOMESTEAD. By Dale Eunson. New York: Farrar & Rinehart. IN THE early 1900’s John Thurman and his wife Anna took up a homestead in Montana, in the heart of the cattle country. Their assets were not large—a son, a horse, a plow and a few necessary household utensils—but they had hope and a large amount of inexperience, or they would not have gone to Antelope Spring. This is the story, told with good local color and truth to reality by Mr. Eunson of their discovery and struggle with difficulties which they had never taken into account when they casually decided to go s West. Etorms, floods, droughts, blights came in the natural order of things, for Nature is not tender of the farmer. To these were added the hatred of the cattlemen, who did not want the country brought under cultivation, and did not with mere hatred, but stampeded ‘Nelds and murdered as “brain trust” is now. The word was never accurately defined, but in the minds of most people it meant a militant free-soiler and came to be applied to all Kansans, as the Mis sourians were labeled “border ruffians” by Horace Greeley. The “jayhawker” of the play, Ace Burdette, is com- posed partly of Lewis imagination, partly of characteristics taken from several Kansas free-soilers of the late ’50s and egrly '60s. Other prominent characters ‘are Rev. Joseph Peavie, & Kansas evangelist; Will Starling, a Kansas divinity student; Wesley Evans, a Kansas farm boy: Victor Rousseau, a young slave-holding Kentuckian; Kansas farmers and their families. a newspaper man, an artist, a post office employe (Irish), Union and Confed- erate soldiers. The plot moves with rapidity and vigor. As literature, en- tirely apart from its stage value. “Jayhawker” seems one of the most robust and veracious of the imagina- tive works inspired by the Civil War. BRIGHT MEXICO. By Larry Bar- retto. New York: Farrar & Rine- hart. energetic people go away for a rest, not being enamored with | | den, the aristocrats among flowers. the kind of rest which means inactiv- ity, they usually do something inter- esting. Larry Barretto and his wife went to Mexico for a rest, without any idea of turning author and artiy, but here is this book, written by him and illustrated by her with delightful sketches. It is the book of two people who took the country casually and in holiday mood, with no intention of studying Mexico’s history or economic conditions. They tell their own ex- periences of travel, from landing to departure, on trains, by automobile, in restaurants, where they became very tired of perennial chicken, which they called Montezuma’s gamecock, strolling about the streets of towns, visiting public buildings and peeping into all the patios and adobe homes of peons which challenged their notice. Mex- ican chauffeurs they found :oxcc:!uen:, h , and given to lerat- o eh Perves. “sanitary conditions disturbed them somewhat, when they saw a child sent by its mother to dip an earthen jug of water for drinking from a trickle running <down thefsireet, just below places | Garden.” Rock gardens are her pri- mary delight and her first chapter is “A Defense of Rock Gardens,” a de- fense which hardly seems needed in view of the popularity of rock gar- dens, which are appearing everywhere, even in the smallest plots. About half of the book is devoted to the plants suited for rock gardens, their harmonious selection, planting and care. Creeping plants, daisies, the thymes, “the glamorous silenes” and, among the shrubs, the spireas, the little willows, the little brooms, heath- ers, rock garden roses and small rhododendrons are her favorites. Mrs. ‘Wilder has chosen tempting titles for her chapters which can hardly fail to suggest to readers possibilities for their own gardens: “Beauty in Onions,” “True Blues Among the Early Blossoms,” “The Meadowrues for Feathery Grace,” “The Pomp of the Mulleins,” “Likely Thistles” and “Sages of Sorts” are some of them. OLD ROSES. By Mrs. Frederick Love Keays. With 56 Illustrations. New York: The Macmillan Co. MANY gardeners roses seem the finest possible product of the gar- Mrs. Keays has during the past five years collected and grown at Creek Side, her farm in Southern Maryland, about 150 varieties of roses, dating from 1596 to 1880. In her book she tells of her own collecting, but also gives something of the history of roses during the Colonial rose period, the China rose period, the “rose world of 1840” and the great rose period from 1840 to 1880. She also has chapters on collecting and recording, libraries and rose books, and uses for old roses. She has the scholar’s interest in her hobby as wel] as that of the practical gardener, There have been fashions in roses and the rose collector is as anxious to have roses of different periods as the collector of furniture or china is to pick up pieces attributa- ble to certain dates and craftsmen. The roses of our Colonial pioneers were the June blooming types, ever- blooming roses were introduced from China, and hybrid tual roses, whose pedigrees it is often difficult to trace, been developed chiefly since 18 * 8 . ideal of bodily perfection. To a great extent our art today seems to be cen- cerned with the life of the common people. The aristocracy of art which has endured for centuries and has | been most closely allied with the de- | velopment of civilization seems to have broken down, and instead we have a democracy which speaks a new | and yet unlearned language. Eventu- | | ally something better than what we | have had may emerge, but at the moment the change is disrupting. | One thing, however, in this connec- | tion should be noted: This is the sin- cerity of the artists. Quite as much today as ever, they concern them- selves with the way their paint is put on canvas, and no less than in the | | past do they take their art seriously. | Every one has the right to his or | her own preference and judgment, |but not one can claim infallibility. | |and all should strive to keep the | painter’s point of view in mind. Of the 353 painters represented in this exhibition at least a third belong to the so-called conserva- tive school, a sixth may be counted as of the “adavnce guard” and the remainder will be found between the two extremes, which is a very fair ap- portionment. - Because the, new Is more startling than the “old the | tendency will be to exaggerate the newness, but if one will seek out that | which is congenial and desired it | will here be found in fair abundance. No effort has been made in hanging this exhibition to classify or segre- gate schools, and that is perhaps well, for all art is one. The place *of honor in this great exhibition has very appropriately been given to a portrait of the President, painted by Ellen Emmet Rand and lent by the President and Mrs. Roose- velt. This hangs opposite the door- way in the center gallery, facing the grand staircase, where, in previous | exhibitions hung portraits by Sargent, paintings by Gari Melchers and other distinguished American artists. Mrs. Rand merits this honor in her own right, for she has now for some years been reckoned among our fore- most painters of portraits. It is compare this essentially official por- trait of the President, painted how- peculiarly interesting to be able to|gf Wood,” and Lathrop’s “Moorland” are both in much more reticent mood. There are a number of self-portraits by artists, some none too flattering, | among which one by a painter of Japanese birth and name, K. Inukai entitled “As Is,” is outstanding. | In these later days the tendency in art has been to suggest rather than finish, but in some instances the pen- dulum seems now to have swung sharply in the opposite direction. Charles Hopkinson, oddly enough, | shows works in both manners—one of a little granddaughter in Winter | cloak and cap, rosy cheeks and lips,; very simply rendered, and the other | a portrait of Horatio Gates Lloyd, | carried in detail to the utmost com- | pletion. Eugen Weisz of this city | shows a self-portrait painted in the | former manner, very directly, very | simply, which cannot fail to bring | him honor; but likewise notable is a more traditional portrait by another | local artist, Bjorn Egeli, of Jeremiah | O’Connor of the staff of the Corcoran | Gallery of Art. Harking back still further to the days of Holbein, such painters as Trocolli, Sarah D. November, Maria Silvette, Abram Poole and Emil Bist- tram show us how altogether charm- ing may be portraits and figures painted flatly, smoothly and exquis- 1 SPEAK FOR THE SILENT PRISONERS « na SOVIETS fe+- By VLADIMIR V. TCHERNAVIN An authentic, domning saga of unbelievoble persecufion and sadistic cruelty. 4 You'll know wht is toking place /in Sovet Russia today if you read this first-hand evidence William Soskin: “A tragedy of histori- cal proportions . . . Tchernavin's accoun he imprisonment he experienced is Something to make our native stories of Georgla chain gangs seem like Rover Boy tales.” E:erumunoflcmmmmmum.wim an al portrait hung elsewhere mhw-mntsxm_wm MALE. CUSHMAN & FLINT..... BOSTON finds repetition in Alexander J. Kos- tellow's large canvas. “End of Frazier Street,” which impressively sets forth three very weary, poverty stricken per- (Continued on Page 10, Column 1.) STIFF, SORE MUSCLES = Burst those chains with “Ben-Gay"...i penetrates deep, fast! “Ben-Gay,” the original Baume Anal- gesique, is a cure, quick, deadly enemy of pain. At the first twinge, rub it on the aching parts. It goes through skin, flesh, | muscle to the very spot of the pain. 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