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Scanned from the collections of The Library of Congress
AUDIO-VISUAL CONSERVATION at The LIBRARY of CONGRESS
Packard Campus
for Audio Visual Conservation
www.loc.gov/avconservation
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I
, '.
SEPTEMBER /
v
35<z
*UAE>OWk4ND
EXPRESSING THE ARTS
TV
A Magazine of Beauty Secrets for Every Woman
A MAGAZINE to help every woman to be more beautiful than she is and then help her to preserve that beauty. Every woman wants beauty: a strong, healthy body; grace; charm ; a spirited, active mind. She knows that some are born beauties — others have it thrust upon them. What she does not know is that all may attain it if they will. A fe\v years ago, those who used cosmetics in any form were called "painted ladies." Those who went systematically thru forms of exercise to improve their figures were "vain." Now, the use of cosmetics is universal. Physical culture is a habit. Every woman knows that she must look her best. She not only tries to assist nature, but to improve it. This is where the new magazine /T}€.erut\
tV« comes in.
Elsie Ferguson Pauline Frederick
LILLIAN MONTANYE, Editor
Editorial Advisory Board
Corliss Palmer Alla Nazimova
Katherine MacDonald Jeanette Pinaud
•fteavit
■*
magazine is the modern
Pandora s Box
We have gathered about us some of the world's greatest authorities, and are supplying o- ers with the best and most authoritative information on all subjects that pertain to pc. beauty. Famous beauties of stage and screen, society beauties, beauty parlor experts, celebrated dermatologists, many well-known notables are contributing to its pages. A special feature is
The Beauty Box
conducted by Corliss Palmer who, as winner of the 1920 Fame and Fortune Contest, was ad- judged the most beautiful girl in America. This is an Answer Man department in which Miss Palmer answers all questions on the proper use of cosmetics and on everything pertaining to beautifying the human face and form divine. She also makes a special plea for
Physical Beauty
the importance of the care of the body itself ; the significance of health ; the wholesome charm of a strong, well-poised body. Each issue contains a hundred aids to grace and beauty — in- numerable little "nothings" that count greatly in the end. /f*Wd-ut\-* 1S t^le Open Sesame to love, joy, life and all the dear emotions that so many have to \J C^- pass by because they
have not discovered the sweet secret of pleasing. 4*Wei\it\»* '* — *n 'tse^ —
A Thing of Beauty
a second SHADOWLAND in its artistry. It contains reproductions of famous paintings in all their original colors, suitable for framing; beautiful photographs, in color, of famous beau- ties of this and other lands which make charmingly decorative pictures for the boudoir. From cover to cover rf^Gerutx.* *s picturesQue> artistic, colorful. It is
A Magazine That Every Woman Wants
and that every man wants his wife, daughter, sister or sweetheart to have. There are magazines of fashion, art, fiction, politics, homes and gardens — but until a few months ago no one had thought of devoting a whole magazine to beauty.
Dont Forget to Order from Your Dealer
There is always a rush — sometimes a real scrimmage when <f^©<a\it\-f comes out. The price is only 25 cents a copy or you may subscribe at the rate of \J &*• $2.50 a year.
/f*^€.erut\^ is on the stands the 8th of each month.
BREWSTER PUBLICATIONS, INC. - - Brewster Buildings, Brooklyn, N. Y.
,Vs 'A*
"«?<..
Mohammed at Mecca, about 620 A. D. * * * ' 'Increase the wager, but lengthen the Time!"
ue o
By l^ccn-ios"
ime
Paintings by HAROLD DELAY
Below, at right, three views of Elgin Presentation Watch with "Mecca" Bow, $325* The Pres- entation Series embodies the new 19-Jewel C. H. Hulburd Move- ment, 12-size bridge model, ex- tremely thin.
All watches of this new series have the Invar-Steel Balance, which minimizes temperature variation and makes for remark- ably accurate timekeeping.
Each Presentation Watch is an individual creation. Case din a pleasing variety of exclusive designs, in White, Green and Yellow Gold— $325 to $500 * * The Elgin Presentation Series is considered the last "word in the Gift Idea as applied to modern business and social requirements.
TO MOHAMMED, life was a waiting game. Time lifted him from poverty to power. Like Caesar, he sensed Time's value to the full, but for the Roman's whirlwind dispatch he substituted the patience of the Orient. "Now!" was Caesar's watchword. "Wait!" was Mohammed's.
An Arab rival ridiculed Mohammed's prophecy of the end of Persian domination. "Master," cried Abu, the Prophet's zealous bodyguard, spurring hotly through the gates of Mecca, "I have wagered him ten camels that it will come true within three years ! ' ' "Increase the wager," came the Prophet's crafty whisper, "but lengthen the Time!" Abu promptly trebled the Time and staked one hundred camels — and won !
The flight of thirteen centuries — which has increased Moham- med's following to three hundred million souls — has brought to the world a steadily deepening sense of the Value of Time, and of the responsibility which rests on those matchless guardians of the priceless minutes of our day —
SuADOWLAND
The American Beauty Contest
jSey^mericoiidDmBlii/lipnp
"Mirror, mirror, on the wall, Am I the fairest of them all?"
We all know the famous fairy story of the Queen who thus ad- dressed her mirror — and now there is a reason and an opportu- nity why every woman should seek similar counsel from her mirror.
Then — if her mirror is encour- aging — she should send us her photo at once.
We are looking for beauty and only beauty. This is NOT a movie contest.
\yhose "luce Will Ip
Kef leer?
The Loveliest Woman in America
You may think it's a tall order to find her among so many beautiful women. It is — but the Brewster Pub- lications, read thruout the length and breadth of the land, are determined to find her — and find her they will !
Somewhere, as you read this page, that fortunate young woman may be reading the same page, unconscious of the fame and rewards that await her.
Is it you? Is it the girl next door? Is it that lovely girl you met last summer?
Read the simple rules, and the splendid rewards that await Amer- ica's loveliest girl!
These Will Be the Rewards of America's Beauty:
1. A trip to New York, properly chaperoned, and a chance to take in the pleasures which only that great city affords: the opera; the theaters; our wonderful library; the famous East Side; great museums; the celebrated Green- wich Village; all the luxurious and beautiful shops on the most luxurious and beautiful street in the world, Fifth Avenue; and so on.
2. A well-known American artist will paint her portrait.
3. A representative American sculptor will model her head.
4. These works of art will be exhibited in one of the leading art galleries of New York City and elsewhere.
5. She will have her picture on the cover of BEAUTY.
There will be a second prize and a third prize, and possibly more. These will be announced later. In view of the fact that the American Beauty may be found in New York City, or its immediate vicinity, the prize in her case will be $1,000, instead of the visit to New York. Just think of that
One Thousand Dollars! ($1,000)
This is aa unprecedented offer. Do not fail to take advantage of it. Send us your photograph. That is all that is required of you. Think what you may win — just because you happened to be born beautiful. Scrupulous care will be taken of every picture received. ALL of them will be examined by the contest judges.
Notice
Photographs that are submitted to us in our Beauty Contest will be turned over to the Metropolitan Magazine, from which they will select photographs to be used on the Metropolitan Cover Contest.
The Rules
No photographs will be returned. No exceptions will be made to this rule. Winners will be notified.
Snapshots, strip pictures, or colored photographs will not be con- sidered. Outside of these, any kind of picture will be accepted; full length or bust, full face or profile, 'sepia or black. You may submit as nany photographs as you wish, hotographers, artists, friends and admirers may enter pictures of their vorites. Credit will be given photographers whenever possible, i not ask the contest manager to discuss your chances. He has hing to do with that end of it. not. ivrite letters. The close of the contest will be announced in
KI0TI0N.&ICTV&E. ClAS S I C
MAGAZ.INE ^^b^*1
SuADQWLAND and ^©<a\itv^
' three months in advance. There will be a contest story every
n all four magazines, with all necessary news and information.
"t beautiful picture received each month thruout the operation
■ntest, will be published in a monthly Honor Roll in all four
s. These girls will be notified when, and in which magazine
are will appear. This does not mean that they have neces-
'ified for the final award, nor that those whose pictures are
;d have failed. The winner will not be decided upon until
he contest.
9. Such a coupon as the one below, properly filled out, must be PASTED on the BACK of every photograph submitted.
10. Be sure to put sufficient postage on your photograph.
11. The contest is open to any girl or woman sixteen years or older, pro- fessional or non-professional, in America. That means the whole con- tinent!
NOTE.— Any infraction of these rules will cause a contestant to be disbarred from the contest.
Address your photograph: Contest Manager, Brewster Publications, Inc., Brewster Building, Brooklyn, N. Y.
THE ENTRANCE COUPON'
This is a portrait of :
Name
Address
Age Weight Height
Color of Eyes Hair Complexion
It is submitted to the American Beauty Contest, subject to the rules thereof, by :
Name
Address.
Occupation (optional) .
/
AUG 21 1922
C1B533727
Volume VII
Expressing the Arts
The Magazine of Magazines SEPTEMBER, 1922
iiiiiiiiiiimmiiimiiimiiiiiimiiiiiiiiimmimiiiiiu
Important Features in this Issue: JOHN COSTIGAN Edgar Holger Cahill
An appreciation of one of the most noteworthy figures among the younger men in the world of painting
WHEN DOCTORS DISAGREE Roscoe Ashworth
The story of James Joyce and his famous book, "Ulysses"
REGINALD MARSH VISITS BROADWAY
A clever artist wields a wicked pencil at the plays along the Great White Way
DAUGHTERS OF HETH Harry Kemp
Original verses from the pen of a real poet, with an appreciation of his work by Gladys Hall
GRAND OPERA SUB CONSULE GIULIO
Jerome Hart
A peep behind the scenes in New York's great opera house, reveal- ing certain interesting facts
A THRESHOLD OF THE LONG AGO IS BATH
Edward Hungerford
The author of "The Personality of American Cities" discusses the charm of England's most famous spa
CUP PLATES OF OLDEN TIMES W.Q. Bowdoin
A wealth of information about a favorite collecting hobby
THE EXACTING ART OF CARICATURE
Willard Huntington Wright
Demonstrating with lucid text and clever examples the leading exponents of the art in many lands
A VETERAN POINTS THE WAY .Frank Harris
When Analole France, Nobel Prize winner, dared to justify the ways of God to man
Number 1
1 1 L t 111 I 111 1 1 M 1 1 1 J I r (I J t 1 1 M ] J I II 11 Ml 1 Mil 1 1 II1IM lllll
Published Monthly by Brewster Publications, Inc., at Jamaica, N. Y.
Entered at the Post Office at Jamaica, N. Y., as second-class matter, under the act of March 3rd, 1879,
PRINTED IN U. S. A.
Eugene V. Brewster, President and Editor-in-Chief ; Guy L. Harrington, Vice-President and Business Manager; L. G. Conlon, Treasurer ; E. M. Heinemann, Secretary
EXECUTIVE and EDITORIAL OFFICES, 175 DUFFIELD STREET, BROOKLYN, N. Y.
Adele Whitely Fletcher, Managing Editor Elsie Seeligmarm, Editor
Subscription $3.50 per year, in advance, including postage in the U. S., Cuba, Mexico and Philippines; in and foreign countries, $4.50 per year. Single copies, 35 cents. Postage prepaid. One and two cent States Government stamps accepted. Subscribers must notify us at once of any change of address, givi
old and new address.
Canada
United
ng both
Copyright, 1922, by Brewster Publications, Inc., in the United States and Great Britain.
JJJTMEL
Page Five
Si-IADOWLAND
Up In the Country
By Susan Myra Gregory
Up in the country now I know, Soft winds among the grasses go.
The pussy-willows in the woods Have thrown away their winter hoods,
And if you know just where to look Among the ferns that fringe the brook,
Deep-hidden buds will promise you March violets, frail and sweet and blue.
Beyond the hills a murmuring sound Tells where the questing bees have found
A clump of manzanita flowers
Stored with the honey of spring showers.
Under the great oak's leafy mold, (Where fairy misers hide their gold)
A slender lady's-smock has sprung, Lured by the first lark's silver tongue.
Up in the country now I know Whose eager feet are fain to go
Where pebbled waters shine and sing, And golden bees are drunk with spring.
Up in the country now I know Whose dreams along the soft winds blow —
Page Six
>V
BEHIND THE SCENES
An Original Poster by Albert Vargas Posed by Miami
BETTY COMPSON
Painted by Ann Brockman From an Edwin Bower Hesser photograph
.-.— J.
fr '\:
^WNM
..-.--. .......:■■■
RICHARD BARTHELMESS
As interpreted by Wynn, of Paris
LAST PART OF WINTER
From an original painting by John Costigan, which demonstrates that he derives mainly from the Impressionist tradition which has given so much vitality to painting in our day, particularly to the painting of landscape. W ith- in the shimmering mysteries of light and atmos- phere that envelop his pictures, ive feel the planes and dimensions of a solid, honest earth
GIRL WITH SHEEP
Illustrating.. Costi- gan's concern with atmospheric effect. There is a fine treat- ment of the girl's figure beneath the revealing folds of dress. This interest- ing use of the hu- man figure, and of animals, appeals in many of Costigan's canvases
Original paintings
loaned thru the courtesy
of Babcock Galleries,
New York
tJABOt/bAWE)
E-XPffSE-SSON
"The- Aiprrs^
John Costigan Carries the Flame
By Edgar Holger Cahill
MUCH ink has been spilled in recent years in the mildly momentous task of comparing the state of the arts in America with the state of the arts in Europe and elsewhere. Are our writers as good as the English ? Our painters up to the French ? Opin- ion varies. These are, after all, sub-academic questions. They do not demand answers. There is another ques- tion of the same type which interests me much more at the moment. It is this : in which of the arts is the America of our day finding its best
expression
? Is it in
poetry, in the novel, in the drama, the dance, painting, sculp- ture, or architecture? I have an opinion im- mediately handy. It is a purely personal opinion, of course, without a complete armory of standards and critical cliches to back it up. Neverthe- less, I venture to send it forth into the world. It is that the finest expression of the American crea- tive spirit in our gen- eration has come, and is coming, from the painters.
In the aesthetic sig- nificance of their work, in that elusive but all important thing called talent, and in the technical mastery of their me- dium, the painters, I believe, can give all our other practition- ers of the arts cards and spades. There is
JOHN COSTIGAN
a logical growth and continuity in the American tradi- tion in painting (tho, of course, it leans heavily on Europe) which seems to be missing in the other arts. They ebb and flow and fluctuate. Painting sweeps up- ward in an assured crescendo. Younger men carry for- ward and expand the work of their forbears. The flame is carried on and grows from decade to decade.
One of the signifi- cant younger men of our day who carries the authentic flame is John Costigan. He cannot be called a Modern in the sense that he belongs to the Modernist group. But he is modern in that he deals in his own way with certain spe- cific problems of to- day. John Costigan was born in Provi- dence, Rhode Island, February 29, 1888. When he was sixteen he came to New York. His art education was, as he himself says, acquired in two years of on and off study at the Art Stu- dents' League, and in the Kit Kat Club's night classes and sum- mer sketch club. But true education is largely a matter of educating one's self. Costigan's work shows that he has passed thru a care- ful training in that school.
There is evident in his work technical proficiency of a high order. But this (Cont'd on page 71)
Photo by Nickolas Muray
Page Eleven
StJADQWLAND
Drawing by Robert James Malone
Page Tzvelve
GARETH HUGHES*
As Robert James Malone sees the popular screen star, who has just completed a new picture, entitled "Forget Me Note
SflWOWLANO
Photo by Hixon-Connelly
ERNESTINE MYERS
A dancer whose exceeding grace has contributed in no small measure to the con- stantly growing importance of the art in connection with all theatrical productions
Page Thirteen
SkUDOWLAND
Photo by Alfred Cheney Johnston
. U
MURIEL MARTIN
It is not difficult to understand the general enthu- siasm for the Ziegfeld "Follies" when it is devoted to the glorification of feminine charm like this
Page Fourteen
SfcUFQWLAND
Photo by Alfred Cheney Johnston
ELEANOR DELL
More varied, more amusing, even more beautiful, is what they say of the "Follies of 1922." Eleanor Dell's many admirers will echo the verdict with fervor
Page Fifteen
SuADOWLAND
Photo by Nickolas Muray
MARTHA GRAHAM
A classic dancer of proved ability, who is a graduate of the Denishawn School
Page Sixteen
Sqaoowland
Photo by Hori
LAURENT NOVIKOFF
A vivid personality lends much to the interpretative quality of his subtle art
Page Seventeen
S04QTQWLAND
ANATOLE FRANCE
Sketch by Wynn
Page Eighteen
SuAL>OWL/*NL>
A Veteran Points the Way
When Anatole France, Nobel Prize Winner, Dared to Justify the Ways of God to Men
By Frank Harris
IT was put about a short time ago that Anatole France was .down and out; his marriage had 'finished him off, men said, and his age made the condemnation seem probable.
Then the Nobel prize for literature was accorded him and the ''League of the Rights of the Individual" (Digue dcs Droits de I' Homme) gave a banquet in his honor. He might have been content at seventy-seven to accept the tribute and prudently avoid controversy.
Instead of that he got up, talked simply from the heart and made the speech of his life. Time and again he was interrupted by rounds of cheering, and before he sat down there were many wet eyes among his auditors. It was altogether the bravest and noblest speech I have ever heard. For the first time in my experience a man of letters rose to the height of the great argument and 'dared to justify the ways of God tp men, and the response Was im- mediate and passionately enthusiastic.
Anatole France began by speaking in favor of those whom he called "the innocent victims of courts-martial" ; he pleaded for the immediate suppression of all such military courts. In particular he mentioned Jean Goldsky, a well-known journalist who was sentenced to eight years' hard labor in 1918; he declared simply that Goldsky was innocent, that everyone knew it, that he was "condemned only because the government dreaded his influence." A good many of us had never heard of Goldsky, but it was impossible to doubt Anatole France's quiet testimony.
He then proceeded to praise the mutineers of the Black Sea fleet, which caused a sort of gasp from his audience.
"Their story is ever famous," he declared, "and I wish to recall it briefly so that it may add dignity to my speech. In 1919 Andre Marty and Louis Badina refused to bear arms against Russia as France had not declared war with her, and Russia had given no offense. They were both tried by court-martial and sentenced to twenty years' hard labor. But two municipal constituencies of Paris had since awarded them municipal honors, deeming that they had acted rightly."
An American Analogy
I could not help contrasting this experience with the analogous case of poor Molly Steimer in the United States. She was not a sailor disobeying orders, but a Russian girl in her teens who asserted that as war had not been declared against Russia, President Wilson was acting ultra vires and unconstitutionally in making war upon that country. Molly Steimer was sentenced to fifteen years' hard labor and only recently released from prison. No municipal constituency has shown her any honor ; no public body of any kind in the States has exerted itself on her behalf, and tho Bernard Shaw and others of us have spoken and written in her defense, this brainless, soulless American administration persisted in keeping that noble-hearted girl in prison for years, and when they finally did release her by way of kindly atonement, they deported her to Russia.
There is no doubt that Anatole France's advocacy will
oon bring about the release of Marty and Badina. But
to speak . in favor of mutineers did not give the full
measure of France's courage ; he would also defend, he
said, some so-called traitors, roundly adding that the Malvy and Caillaux trials were "judicial monstrosities."
"Two years after the disgraceful Malvy trial," he went on, "the High Court returned to its vomit again and tried M. Caillaux. This time the judicial crime had been pre- pared at length and carefully. M. Caillaux was sentenced on the order of the Government, by magistrates and poli- ticians, who thus gave an example of equivocation which is practically unheard of in the history of political as- semblies. For the honor of mankind, that sentence must be torn up."
After expressing his belief and certainty that "justice will triumph some day in the Caillaux case as it did in the Dreyfus case," Anatole France complained that "the spirit of war outlasts war itself."
A Passionate Response
He criticized the Government, the Parliament and the press of France and asserted that nowadays "all wars are civil wars, and since the victors are as badly off as the vanquished, let us repair our ruins together, and if possible let us take pity of our common weakness."
With ever-increasing boldness, he went on to warn his hearers. "Up to now," he said, "we have not known ho*w to make peace. It is a difficult but necessary art for all peoples. We must re-make Europe ; our vei-y existence depends upon it."
The close of his address drew the entire audience to its feet. "For pity's sake, if we love glory, if we wish to be the first nation of the world, let it be our reason, our wisdom, by a just understanding of what is possible, of what is kind, by a calm view of humankind, and finally by following Goethe's advice : 'Let us be good Euro- peans."
I have never heard such cheers as greeted this appeal to the highest impulses of our humanity. At long last someone has come who speaks to the God in us and not to the brute. And how passionately those fine French- men responded !
The banquet was held at the Restaurant Universitaries ; some three hundred of the first minds in France had come together to do honor to the first of living writers. Ferdinand Buisson was in the chair, and among the speakers were Paul Painleve, ex-Prime Minister and Madame Severine. Among the audience, too, I saw still more famous persons ; but no one paid any attention to them ; it was Anatole France's night and he had risen to the occasion if ever man did, and justified our love and reverence for him by his pure sincerity and nobly un- selfish courage. But alas ! the fateful years have left their marks upon his face and figure ; eight years ago when I saw him just before the war, he carried himsel* gaily erect, now he is a little stooped; the face then, tho framed in silver hair and beard, had a look of health. Now the lines everywhere, like cracks in old masonry, cry weakness and the brown eyes that were so bright are now grown smaller and are in the shade, so to speak; but just because of his weakness and apparent age it was inspiring to hear him defending the despised of men and those persecuted for conscience sake — to the end "a brave soldier in the Liberation War of Humanity."
Page Nineteen
SuADOWLAND
<-a^*mjaa
■ ■
Photo by Edward Thayer Monroe
MILDRED WAYNE
"Nothing nearer than the sixteenth roiv," is what
they've said to us several times at the Eltinge
Theater, where Miss Wayne has been playing in
"The Demi'Virgin." We are not surprised
Page Twenty
SUA&OWIAND
Photo by Strauss-Peyton Studios
MARJORIE RAMBEAU
In "The Goldfish," which survived most of the summer on Broadway, Marjorie Rambeau be- gins her career in a bargain-basement, continues it on Riverside Drive, and rounds it out as a society wonum in a Park Avenue home
Page Twenty-One
^UIAOOWIAND
Paul Swan, Artist
The Well-Known Dancer Who is Also a Poet, a Sculptor of Talent, and a Painter Represented at the Paris Salon
By Arthur H. Moss
daily the setting of a worker. We found him extremely busy, putting the finishing touches to a portrait. While waiting, we strolled about the studio, and saw a good deal of his sculpture and paintings. Which gave us our first agreeable sur- prise. It was the work of a sound artist.
The portrait finished, Paul Swan turned to greet us, and we got our second surprise — he gavi us the firm, cordial handshake of an athlete. Hi- pictures had led us to expect a pale, ethereal, al- most too-beautiful creature. Good-looking he un- doubtedly is, but when face to face with him it
Photo by Bennefte-Moore
Paul Swan in one of his . newest dances, which he calls "Egyptian Fantasie"
T!
THOUSANDS of peo- ple have seen Paul Swan dance. Many thousands have read or heard something about him. He has furnished columns upon columns of sensational copy for the sloppy press. But how many Americans know that Paul Swan is a painter of distinction and has exhibited in the Paris Salon? How many know that he is a sculptor of great talent ? Or that he is a poet ?
From time to time we had encountered intimate friends of Paul Swan's who resented the fact that whenever his _ name was mentioned, something was said about "male dancer," and nothing more. They in- sisted that he was an artist of amazing versatility. And so our curiosity was aroused and we determined to trail this extraordinary being.
On the outskirts of Paris, facing the fortifications, Paul Swan has his studio. It is a large, beautifully decorated place, but essen-
Page Twenty-Two
SUADQWLAND
is his enthusiasm, his vitality that impresses one most.
Our third surprise came when he started to talk. He immediately plunged into humorous comment upon what he called the "Paul Swan Myth." "You know," he laughed, "the Paul Swan myth resulting from circus advertising and superlative adjectives, is the worst por- trait of me now in existence. I am really a fraternally in- clined person. The worst thing that can be truly hurled at me, is that I have the Narcissus complex. That I fully realize, and I defend it as my chief refuge from an unsympathetic world. Of course you know that I started out as a ploughboy on a Nebraska farm. This Greek idea is not a pose. I simply dis- covered something in my- self, and attempted to ad- just it to modern life and make it normal. I really believe that I should have lived about 350 B. C. When I went to Athens, it felt like a home-coming."
The versatile Paul Swan at work in his studio as a sculptor, and a reproduc- tion of Paul Swan's drawing of his little daughter, Flora
Photo by White
Paul Swan's series of dance matinees in the Greek capital were a series of triumphs. From the enthusi- astic notices in the Hellenic press, one feels that no foreigner since Byron's day had had such public acclaim.
Tho Swan is devoted to his painting and sculpture, he feels that the dance is his best medium. He says that he himself is the best medium for expressing himself. Thru the dance he can reach his widest public.
AS AN ARTIST
In painting, Paul Swan is by no means a modernist. The Greek love of form predominates. He does not believe m "art for art's sake," but that art should be the expression of life "and experience. "I confine my- self to portrait work," he said, "but I have a keen feel- ing for landscapes and wish I could set them on can- vas. If ever I am rich enough to enjoy being a patron of the arts, I shall purchase nothing but landscapes."
We turned the talk to poetry, and here again we found him decidedly arrayed against the modernists. His own work is all of the classical order, and shows consider- able technical" skill. Here is one that appeared in a current magazine :
(Continued on page 70)
Page Twenty-Three
iuAOOWLANO
Jean Cocteau, French poet. His recently published vol- ume of verse, "Vocabu- laire" (La Sirene) is com- manding the attention of the literary world
Artistic I Parisian Personalities
Photographs by Man Ray
Jules Pascin, the painter who has become an Ameri- can citizen, but cannot avoid the cafes of Mont- martre and Montparnasse
Georges Auric, one of the younger French composers, whose music is often heard at cur- rent recitals
Gertrude Stein, the American writer in France, among her Braques and Picas- sos. Miss Stein is also about to issue a new v o lu m e from her pen
Page Twenty-Four
pMMMHHMHHMHRMMMMWMMHMMMNMIMttn^
ShJADOWLAND
HMHHHMinMnUMMMM
h
-~,
Photo by Hiller & Mott
MILES AND JACK MARCHON
Their Japanese and Javanese Dances are marked for both grace and authenticity. Fol- lowing their professional debut with Ruth St. Denis, they attracted favorable attention at the Winter Garden in New York, and are well known in vaudeville. A return to New York is planned for the coming season, with an Indonesian Ballet of their own creation
Page Twenty-Five
iUADOWLAND
Grand Opera sub Consule Giulio
Or, Is the Metropolitan Becoming Germanized?
By Jerome Hart
IF there be any more difficult job on earth than running a grand opera company, I do not know it. An oper- atic impresario should have sound musical and artis- tic taste; he should be a good judge of what the public wants and able to keep his finger on the popular pulse. Added to this, he should be a practical business man. Above all, he should be able to manage his artists, and, needless to say, there is no body of individuals so diffi- cult to control as a number of operatic singers, more often than not obsessed by an inordinate sense of their own 'merits and importance, and richly endowed with what is euphuistically called the artistic temperament.
Signor Giulio Gatti-Casazza, General Director of the Metropolitan Opera, and formerly head of La Scala, Milan, is a distinguished personage by descent as well as by reason of the titular honors conferred upon him by his king. In appearance he is the ideal impresario. Finely featured, trimly bearded, carefully dressed, and looking almost as if he had stepped from a Titian picture of a doge of Venice; of dignified deportment and delib- erate speech — which does not in- clude the language of the country where he has lived and prospered for more than a dozen years — one instinc- tively feels that he is not the sort of man to be trifled with. An aristo- crat, in fact, an bout des angles, I have, in the course of several conver- sations with him, heard him profess democratic the- ories. But, like many other theo- retical radicals of aristocratic lineage, he thinks all men are on an equality — except with him- self.
Gatti-Casazza is, in fact, an' autocrat, and does not brook interference, much less dictation, from anyone — not even from the august and opulent com- mittee of the Metropolitan Opera, which de- crees whether or not his contract shall be extended © Mishkin, N. Y.
or his salary in- Signor Ghllio Gatti-Casazza, General
creased. ft is, in and formerly head of La Scala, is a di
fact, rumored that recently he had some warm pass- ages at arms with the chairman of the committee, who is regarded as the financial alpha and omega of grand opera in New York.
Last season, after his own contract had been renewed for three years, Gatti-Casazza would not renew that of Geraldine Farrar on the old terms of $1,800 a night — despite the fact that she almost invariably crowds the house — but offered her a contract with her guaranteed number of appearances cut down by just one half. This the popular and independent cantatrice at once refused. Opera patrons were greatly exercised and divided over the matter. So. too, were leading members of the opera committee, and the incident found those affluent musical amateurs and authorities, • Otto Kahn and Clarence Mackay, in opposite camps.
The fact that Marie Jeritza, a Teutonic cantatrice, had been permitted to usurp the position occupied for many years by an American singer, who had become the most popular prima donna in the company, is not pleasing to
patriotic patrons of opera in New York. Moreover, opinion is divided as to the vocal and histrionic merits of the blonde and more or less beaxt- tif til Jeritza.
Speaking for myself, I regard her as distinctly in the second rank. Her Tosca is, like the curate's egg, good in parts. Her San- tuzza is no more Sicilian than Cal ve's is Chinese, and in both parts she tears her passion to tatters, without ever becoming really impressive. There is ■ no more reason why she should grovel on her knees when singing "Vissi d'arte" than that she should crawl on her abdomen. It is not impres- sive, and least of all is it art. In the cathedral scene, hatless, which no Italian woman would ever be in church — she was more like a German Director of the Metropolitan Opera (Continued on
stinguished personage on many counts PaQc >/ )
Page Twenty-Six
SuAOQWIAND
Interpreting La Tosca
Geraldine Farrar, American prima donna, whose Tosca has been a favorite with opera-goers for a decade. She sang re- markably well last season, and the fare- well demonstrations in her honor, when she announced her intention of leaving the operatic stage for the theatrical, were extraordinary in their fervor
Photos by Mishkin
Marie Jerilza, famous Austrian cantatrice, brought a new inter- pretation to the popu- lar role of La Tosca that set all New York a-talking last winter, While some folk were not pleased with the innovations she intro- duced, there are many who acclaim her the world's greatest soprano
Page Twenty-Seven
SuADOWLAND
.
Foreign Applied Arts
Glass by Lobmeyr, Vienna. The Lobmeyrs make traditional Bo- hemian glass, as well as glass pieces of modern designs. Flow- ers for hats, made of ribbon by Gertrud Goehrke, of Hamburg.
Porcelain and wood tray by Deutsche W erkstatten, Dresden, a firm of world-wide fame, which employs among its art direc- tors Prof. Richard Riemer- schmid, president of the .Ger- man ff-rerkbund
Porcelains by Royal Manufactory, M eissen. Decorated earthenware vase by Keramische W erkstatten Schleiss, Gmunden. This manu- factory ivas established in 1710 by Bottcher, discoverer of kablin. It retains the original ro- coco style in its work, and employs also such well-known modern art- ists as Paul Scheurich and Gerhard Marx
Right: Art Pottery and majolica from Karlsruhe
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Porcelain figures by Gmundener Keramik, one of the largest Ger- man-Austrian cera- mic factories. Gmunden is the center of the cera- mic industry. Deutsche W erk- statten, Dresden. Blown glass ani- mals: these ani- mals are blown in one piece of glass, including the stand, by R. L. F. Schulz, of Berlin. Ivory lockets by Fritz Schmoll
Page Tzventy-Eight
SjAOOWLAND
From Moscow Cellar to New York Roof
In Its New Home Atop the Century Theater the Chauve-Souris Continues to be Broadway's Premiere Performance
By Ernest Jerome
GAZING over the wonderful panorama of New York by night from the roof of the Century Theater, where the Chauve-Souris has its new home and is giving its second program, my thoughts went back to a night, now seven years ago, when I first saw Petrograd by night from the roof garden of the Hotel Europieski.
The city created by Peter the Great was aflame with martial ardor; the blare of bands, the splendid songs of marching soldiers, and the shouts of cheering crowds on the Nevskii Prospekt were wafted by the summer breezes on one of those wonderful nuits blanches which make the Russian cap- ital a city of rare mystery and haunting beauty. In late May and June there is practically no night in Northern Russia, but an exquisitely m y sterious and lovely twilight pre- vails. It was an un- forgetable de- light to motor out in the soft, hazy half-light of midnight to the Islands, thru the um- brageous boulevards, lined on either side by beautiful gardens and palatial man- sions, which lead out of Petrograd to the shores of the Gulf of Finland.
We visited cabarets not unlike the Chauve- Souris, but, in those distant and feverish days, less re- strained, less artistic, and more remin- i s cen t of
Paris or Berlin. Every man, with the exception of the Tartar waiters, with shaven heads and in spotless white, seemed to be wearing a uniform, and every woman wore a smile, and on the stage often little more. The sweet champagne and heavy red wines of the Crimea and Cau- casus and the finer vintages of France flowed like water, and altho here and there one saw a wounded officer limp- ing to his seat, with the assistance of a solicitous female friend, there were few signs of the dread conflict which was then being waged from the Masurian marshes to the Galician border, and which was daily claiming its thou- sands of lives.
A little later I was in Moscow, which was even gayer than Petro- grad ; its open air -t restau- rant s and cabarets be- ing even more unre- strained if possible. B a 1 i e ff and his clever companions were there, singing, danc- i n g a n d clowning as much for their own pleasure as for that of a curious pub- lic. It was con sidered chic by aris- tocratic offi- cial and mili- tary society to visit the dug-out or cellar of the Chauve- Souris, just as it used to be the thing to do to go the rounds of the old cafes and cabarets of Mont- m art re. Im- portant folk went even at the risk of (Cont'd on page 69)
Photograph by Abbe
Nikita Balieff, described in the program as "Direotor and Stage Autocrat." Ever and anon, he emerges from behind the curtains and converses with a delighted audience in ah extraordinary jargon
Page Twenty-Nine
iuADOWLANO
Norma
and
Constance
Photos by Abbe
The Talmadge sisters joined the hegira to Europe in August, but not before Constance had com- pleted the screen version of "East Is West." soon to be released
No less than two fa- mous tales have claimed the recent at- tention of Norma, both with an Oriental background. Her many friends will have an opportunity to see"TheVoice from the Minaret" and "The Garden of Allah" be- fore long
Page Thirty
^UA&QWIAND
Photo by Victor Geotu
MABEL BALLIN
"Married People" is a new screen production soon to be released by the Hugo Ballin Pro- ductions, in which Mabel Ballin will have the leading role, with Percy Marmont playing op- posite her. Mr. and Mrs. Ballin are looking for an interesting screen story, and may go to Italy in search of it
I . . / hit t\ Ui
SUAOQWLAND
Photos by Charlotte Fairchild
Introducing
Fania
MarinofT
Versatile is the only proper adjective to apply to this popular actress of Russian birth but American school- ing. It was a big jump from playing a little boy in "Cyrano de Bergerac," at the age of nine, to Marthe Roche in "The Hero," and then to a comedy part in Frank Fay's "Fables," but Miss Marinoff accomplished it with apparent ease
Page Thirty-Two
SU4L>OWLANO
When Doctors Disagree
James Joyce and His Book, "Ulysses," Which Has Become An International Literary Sensation
By Roscoe Ashworth
THERE are three geniuses of the New Dispensa- tion who have successfully vied with bootleggers, flappers and reconstructions st politicians in com- pelling the attention of a world distracted. Freud and Einstein are two. The third is James Joyce, least dis- cussed, perhaps, but indubitably the most intriguing per- sonality in the iconoclastic triumvirate.
As cunning a diagnostician of the genus homo as the psychologist Freud, Mr. Joyce, man of letters, at the same time reveals a precise, impartial, unemotional mental equipment comparable to that of the man of science, Einstein. To a greater degree than either, he possesses an intuitive faculty, which gives to his genius superiority over that of his contemporaries. Of this genius his monu- mental epic in varicolored prose, entitled "Ulysses," re- cently off the press at Dijon, France, is the hall-mark.
The intellectual elite of France, America and England have hailed the publication of the Joyce opus as the most sensational literary event of the year, of the decade, of any time within living memory. Whatever else has been said of it, competent opinion is agreed that the book is an achievement stupend- ous in effort, stagger- ing in the detail, and a little baffling in the contents.
The tome — 732 pages of more than octavo size — is uni- que among books. Nothing half-way re- sembling it has been done before in any language, and it is un- likely that anything equalling it will be ac- complished in future, however talented or ingenious the imita- tor. Only James Joyce could have writ-, ten "Ulysses," which is the kind of feat a man does not perform twice in a lifetime.
Tho the book was germinating as far back as the Huck Finn stage of the writer's development, the actual job of getting it on paper was not begun until the first year of the war. The writing continued uninter- ruptedly in Paris, Zurich and Trieste for seven years. They were seven years of strenuous labor, re- In reading "Ulysses" you
quiring prodigious tunity to understand its
imaginative effort. You will not be surprised to learn, then, that when Mr. Joyce had finished correcting the last proof in February of this year he was ready to take his ease. Limited to a thousand copies, the edition was sub- scribed virtually in its entirety before the ink was dry. Only a few of the more expensive copies are now avail- able in Paris. In America the book is a curiosity and is fetching enormous prices when it is privately sold. The tremendous interest felt at present in the Joyce master- piece has created a demand which is almost certain to re- sult in a new and cheaper edition in the not far distant future. Tho such things cannot be positively stated, it would not be amiss to assume that some diligent publisher is eagerly awaiting the opportune moment for making the book accessible to a wider public. Curiously enough, it was an American and a woman who had the courage to undertake for the first time to embalm. "Ulysses" be- tween two covers. It will be interesting to observe for whom she has paved the way. -It is well known that American pubHshers are very much awake in these matters. The reception of the book since its appearance
in April — the. first copies were ready on Mr. Joyce's thirty- ninth birthday ■ — has been varied, not to say, diverting.
The L o n d o n S port i n g T i m es . whose readers boast an aesthetic taste equal to that of Police Gazette patrons, by flamboyant posters an- nounced, ironically enough, that "Ulys- ses" would be re- viewed in its columns as the most lurid piece of pornography that had come London- wards in many a day. George Bernard Shaw, when asked if he wanted a copy, ex- pressed his surprise that anyone could pos- sibly imagine an Irishman ( ?) paying three guineas for a book written by an- other Irishman.
Most of the staid and stolid -English re- viewers have so far refused even to open the enticing blue covers of the book. The outstanding ex- Photo by Man Ray ception in the conser- have your best oppor- v a t i y e ranks is author's personality {Cont'd on page 74)
Page Thirty-Three
SUADQWLAND
'" " ' .:: ... ... -•■ - -.. .
0*L
Photo by Edward Thayer Monroe
MADGE KENlNEDY
tier winsome beauty and histrionic ability wilt soon be seen in the screen version of "Dorothy Vernon of Haddon Hall." The medieval romance which had many admirers, both as a novel and on the stage, will doubtless be equally popular with silversheet enthusiasts
Page Ihuty-t ow
Su£TOWLAND
Call the Play-Doctor
Wherein Are Set Forth the Advantages to be Gained by Not Following in the Footsteps of Shaw
By Frank J. Wilstach
THE astute Dion Boucicault once said that "success- ful plays are not written; they are rewritten." Boucicault's name appeared on many plays, but in point of fact, all of them, like Shakespeare's, were old plays rewritten. Boucicault was a masterly Play-Doctor.
It has been said that "The Play-Doctor is the accou- cheur of the drama." It seems to me that this is a mislead- ing metaphor. The Play-Doctor, to achieve anything worth while with the dramatist's bairn, must have it come to him a full-grown, healthy individual. It is, then, as the family physician, that he must begin to watch over the off- spring till it reach a ripe and healthy ma- turity.
Who was William Shakespeare? He was the rewrite man — the Play-Doctor, of the Globe Theater, Bank- side, London.
Now along comes Keble Howard, the English dramatist, who states that "A well- constructed and well- written play is like a house of cards. Pull one card away, and down comes the whole fabric. That is a thing nobody understands ex- cept the dramatist. Over and over again it has happened that the dramatist, with minute care and extraordinary patience, has built his card-house. It is com- plete. It is presented — not perfect, perhaps, but as complete as skill can contrive. Then somebody thinks to im- prove it by pulling out a card or two, and shoving in something foreign to the struc- ture. Down comes the whole affair, and the first-night audience sees merely the wreck- age of what the drama- tist so patiently and carefully built."
Play-Doctors of a high order of intelligence do not "shove in something foreign to the structure." That is the work of a deplorable bungler. The picture drawn by Keble Howard presupposes a dramatist who is amazingly expert. To meddle with such a play would be in the nature of a crime. Unless, however, the dramatist is so skilful that he has been able to provide a perfect product, thru a transcendent knowledge of the theater — a rare
\*0RNftR<X
SAMUEL SHIPMAN Author of the tremendously successful "Lawful Larceny," co-author of "East Is West," "Friendly Enemies," and also on occasion a Play-Doctor of rare intelligence
craftsman by the way — his play, without ministrations, would be a sorry business.
There are two dramatists of the English stage of to- day who refuse to allow any changes whatever to be made in the text of their plays. They are Arthur Wing Pinero and George Bernard Shaw. It is pretty much a matter of egotism, I would say, that causes Mr. Shaw to put this incubus on plays from his pen. It will hardly be denied that many of them would have proved very much more acceptable for the theater had he permitted the assistance
of an expert Play- Doctor. Mr. Pinero, on the other hand, is not only able to devise highly interestirig stories, but his knowl- edge as an actor fits him to produce them adroitly, efficiently, scientifically.
In the same class with Pinero are David Belasco and the late Clyde Fitch. Mr. Fitch, like Mr. Belasco, rewrote his plays at re- hearsals. He was in thoro accord with the Dion Boucicault dic- tum. Those who were present at a Clyde Fitch rehearsal soon be- came aware that he did not lay any great store on anything he had written before produ:- ing. It was his custom, not only to ask the ac- tors how they felt about a scene, but also anybody who hap- pened to be present. If anyone could give a good reason for any new piece of business or any change in busi- ness, Fitch at once ac- cepted the idea and then and there rewrote the scene. Mr. Belasco does the same thing.
There is no more ex- pert reviser of a play during rehearsal than George M. Cohan. I have happened to he in the theater when Mr. Cohan was either rehearsing a play or revising it during production out-of-town. I have seen him at performance after per- formance with a note-book in his hand and have seen him the following day make change after change in lines and situations. One of the most remarkable examples of play- doctoring was that by Mr. Cohan in remodeling "A Prince There Was." The play was produced and failed. {Continued on page 73)
Page Thirty-Five
SuAPQWLAND
Specimen of the recent work of Massaguer, the best known of Cuban caricaturists
(Left) Don Ramon Inclan, by Sirio, the foremost cari- caturist of South America
Caricature of Wilson, by the German, Thony, leader of the "Simplicissimus" group
(Right) Sketch by Gulbrans- sen, of Norway, the greatest modern master of caricature
Enrique Camargo, by Tovar, Spain's most proficient and prolific caricaturist
(Right) An unfamiliar self-portrait by Max Beerbohm, reproduced from the "Chap-Book"
Caricature of the Kaiser, by Tirelli, an Italian master of the grotesque
Page Thirty-Six
Su4DOWl4NB
The Exacting Art of Caricature
Depending on the Creator's Understanding of Motives, a Caricature Assumes Qualities Unnecessary to a Cartoon
B;y Willard Huntington Wright
THE word caricature — like the word artistic — has almost completely lost its significance thru •promis- cuous and loose usage. Any schoolgirl with a slight talent for sketching likenesses, who draws a ludi- crous picture of her teacher, has achieved a "caricature" ; and any journeyman newspaper cartoonist who makes a series of specious pen-portraits of "leading citizens" or local politicians, is likewise set down as a "caricaturist." There are even correspondence schools of art which guarantee to metamorphose rising young clerks into "caricaturists" in a brief course of easy lessons which can be mastered between dinner and bedtime.
Caricature in the true sense, however, is something of an entirely different nature. It is a highly specialized and sophisticated art which appears only during a na- tion's prolific maturity, when intellectual values have been established, when the tools of art have been keenly sharpened, and when the creative mind has attained a philosophic in- sight. In fact, a good cari- cature is as much a matter of intellectual penetration and analytical acumen as it is of craftsmanship and technique.
It is erroneous to regard a mere distorted and bur- lesqued likeness of a type or of an individual — how- ever fluent or masterly it may be — as a caricature. Such work, properly speak- ing, is a cartoon ; for, in order to achieve success, it need be neither critical nor analytical ; it need not pene- trate beneath the surface, or even concern itself with the inner truth of its subject.
Caricature, on the other hand, is a thing of interna! values, dependent upon its creator's understanding of motives and causes. It deals with the subterranean im- plications of visual form, and is at once revelatory and instructive. A caricature is possible only when the art- ist knows his subject thoroly, and has grasped the hidden salients of mind and character. Whereas cartooning is the parody of the graphic art, caricature has its literary counterpart in satire ; for it embodies — in addition to the outer aspect — an accurate interpretation and a vivid appraisement of its theme. Caricature, in fine, is psycho- logical analysis in terms of visual life, and requires, for its prosecution, a scholarly and analytical mind closely and almost instinctively synthesized with a highly developed and sensitively refined technique.
Far from being a mere meteoric ephemera, the art of caricature possesses an evolution of accumulative experi- mentation and slow logical development such as marks the progress and growth of all the other and higher arts. It began merely as pictorial comedy and burlesque — a handmaiden to literary humor. Then it became fantastic
Portrait-sketch of Hindenburg, by our own American caricaiurist, Ralph Barton
and grotesque, tho still purely visual in conception and appeal, and without animating purpose. Gradually it came to be used as a weapon and as a means of propa- ganda. Later still, taking on an interpretative quality, it drifted into vicious grotesqueries and delirious imagin- ings. Emerging from this stage, it allied itself with contemporary life, growing more and more personal and specific. Then, having reached a certain documentary profundity, it dealt with ideas and principles — with pol- itics, religion, and human psychology. Finally, it became philosophical, and was able to penetrate to hidden causes and to grapple with the deeper concerns of humanity, both individual and typical.
The word caricature, as a distinguishing term, did not
come into existence or pos- sess its present connotation until toward the close of the eighteenth century, at which time the practice of caricature, having divorced itself from mere visual humor, had developed its own medium and had come to be recognized as a dis- tinct art form.
Despite the fact that the early Romans practised a limited and superficial type of pictorial caricature, comic artists were not held in high repute ; and the real caricaturists of the an- cients were writers such as Martial and Aristophanes. However, the spirit of comedy in graphic art per- sisted; and in the Middle Ages there was a veritable saturnalia of fantastic and outlandish pictures, designs and images.
During this epoch the aesthetic imagination ran wild, projecting itself into every type of obscene and gro- tesque conception ; and all manner of grim and bizarre diableries abounded. Out of this wild and prolific debauch of the imagination came the gargoyle, which alone has survived with any degree of permanent artistic interest; altho our popular conception of the devil as a tall, sardonic gentleman with cloven feet, spiked tail and satyr's horns — as well as our conception of death as a sinister animated skeleton — are heritages from this period. The age culminated in Holbein's "Danse Macabre" at the beginning of the sixteenth century.
The earliest indication of the modern spirit of carica- ture occurred during the Renaissance— a")^ epoch abound- ing in travesty in comic art, and - numbering Leonardo and Michelangelo among its practitioners. The impetus toward graphic irony seems not to have grown suffi- ciently strong to override all opposition ; for the Restora- tion proved richer than the Renaissance in pictorial satire. Callot, early in the seventeenth century, produced his famous grotesqueries — "Caprices" — and foreshadowed the advent of Hogarth and Goya. The Dutch became
Page Thirty-Seven
SuMDOWLAND
masters of this new medium, and their caricatures were disseminated over all Europe. Pieter Breughel and later, De Hoogh — a disciple of Callot's — were the leaders of this florescence ; and — with the notable exception of France, where caricature had been placed under the ban — ■ nearly every European nation contributed to this newly developed art type.
The Prolific Eighteenth Century
The eighteenth century, also, proved a prolific age in caricature, both graphic and literary. In pictorial art it gave us such widely dissimilar men as Gillray, Hogarth, Rowlandson, Sandy, Collet, Cochin, Vernet, Saint-Aubin, Bosio, Boilly, Isabey and Goya. And during the first half of the nineteenth century, we find men like Cruik- shank, Charlet, Grandville, Raffet, Decamps, Pigal, Travies, Monnier, Hassenclever and Richter engaged in various styles of caricaturistic art.
But modern caricature, as we know it today — highly specialized and definitely circumscribed — began with Daumier. the greatest of all modern masters of graphic satire. With his surpassing talent for pictorial analysis he combined the sensitive instinct of the profound creative artist ; and his reputation rests even more on his contribu- tions to the evolution of modern aesthetic means, than on his capabilities as a satiric draughtsman. Philipon, "the father of comic journalism," founded La Caricature in 1831, and after its suppression four years later, Lc Charivari; and it was thru these publications that the genius of Daumier — as well as that of Gavarni, Grand- ville and Cham — was given to the world.
Gavarni ranks second to Daumier among the early masters of modern pictorial portraiture. Grandville was less mordant and less exaggerated, tho always penetrating and scholarly ; and Cham, who worked with great f ree- ness of technique in pen-and-ink, adhered to a kind of Zolaesque naturalism of theme and excution. These four men established the terrain of the art of contemporary caricature.
No precise mental attitude or specific stylistic method, however, can be traced in the modern development of caricature. In fact, the very nature of caricature pre- cludes any such unity of spirit or form ; for, of all the lesser arts, it is perhaps the most intensely personal. Moreover, national influences affect it ; it is fashioned by the existing temper of society ; and it reflects the con- sciousness of the times in which it is conceived.
For instance, in England in the nineteenth century we find Pellegrini ("Ape") doing his great series of modern mimetic portraits in J'anity Fair; Leech making genre pictures on homely, genial themes ; Caldecott sketching his whimsical and mildly humoristic oddities, the gracile and somewhat dignified Crane doing bizarre illustrations for fairy tales ; DuMaurier and Keene engaged in in- timately human studies and sympathetic social pas- quinades ; Tenniel executing full-page political cartoons in Punch; Reed dealing in drolleries and whimsicalities ; Baxter playing the buffoon and f arcicist ; and Phil May combining the jester's wit with the humanitarian's sense of pity.
Characteristics of the French Art
In France we discover a decidedly different national influence at work. Andre Gill, vigorous and original, sought the spirit rather than the image ; and tho he devoted much of his time to being a political silograph, he also gave us many memorable drawings of human gen- eralities. Willette, an illustrator and poster artist of the Cheret type, was a delicate, whimsical draughtsman of travesties, at times sentimental, at others piquant, but always adhering closely to actuality. Grevin was a high- class comic-paper illustrator, with delicacy of line, who
only occasionally indulged in personalities. Leandre's talent lay in his ability to exaggerate facial characteristics until they were almost monstrous, and still to retain an exact likeness of his subject. And Caran d'Ache was a witty and ludicrous pictorial story-teller, with a simple, unencumbered technique.
Toulouse-Lauterc, Forain, and Louis Legrand repre- sent the height of modern French caricature. All were profound students of life and humanity; and all were technical experts. Lauterc's search was for character, and in the faces of his subjects we can read their inner- most secrets, and reconstruct their entire day's activities. Legrand, who illustrated Edgar Allan Poe's tales, glories in grotesqueries, and depicted the moral decay of his characters with neither sympathy nor disgust. Forain's work is characterized by an iconoclastic and acidulous cynicism. He possesses shrewd analytical powers, coupled with an almost miraculous ability to snatch aside the cur- tain from worldly hypocrisy. His drawings have touched caustically upon nearly every phase of contemporary life. Forain is one of the world's few great masters of cari- cature. Without him, it is problematical whether the work of Steinlen or Hermann Paul would exist in its present form ; for both these eminent draughtsmen owe much to the influence of Forain's genius.
Germany during the nineteenth century gave us VVil- helm Busch, one of that nation's most brilliant comic technicians. He produced his effects with the most rigid economy of means ; and this skill, coupled with his in- tellectual insight, gave him a place of pre-eminence among German caricaturists. Obelander was a caricaturist in the true sense of the word, and a dexterous technician as well, altho of a less trenchant type than Busch. Reinicke possessed much of the comic modern spirit of Punch and many of his illustrations could be reproduced in that journal today without creating the effect of anacronism. Hengeler was less dexterous, but his humor was more biting and cynical than either Busch's or Reinicke's.
The Work of Contemporary Artists
Before coming to the more modern and contemporary men a word should be said of Felicien Rops, the Flemish artist. Rops's imagination was an atavistic heritage from the Middle Ages, and his illustrations for Till Eulen- spiegel, as well as numerous of his other drawings, may best be described as an art of satanism. His successors today are men of the Heinich Kley type. But, despite his frenzied extravaganzas, his technical influence was tremendous ; and he colored much of the fantastic art which came after him.
Briefly, then, these are the foundations on which the art of contemporary caricature has been built. Today, however, it is a definite and restricted craft, highly con- centrated and painstakingly perfected. It has divorced itself from mere humor and burlesque, and from literary and documentary inspirations. In its purest manifesta- tions it is unembellished philosophic portraiture.
The finest examples of caricature are to be found in Flicgcndc Blatter, Jugendc, Das Narrenschiff, and Sim- plicissimus. Heine is perhaps the most prolific and diverse of the modern Germans. He works in many styles, and in each he exhibits a rare mastery. His field of subjects is also a broad one, tho intellectually he al- ways remains the energetic doctrinaire. Thony bases his technique on old wood-cuts, and largely thru his influence a new and popular type of graphic execution was evolved. Thony's mannerism has become so perfectly assimilated that it expresses his ideas with amazing fluency. His caricatures are bitter and cruel, yet they rarely deviate from the truth. Von Blix is of the same uncompromising temper ; but his dexterity is of a lesser strength, and his {Continued on page 68)
Page Thirty-Eight
StlADOWLAND
Shown at the
Southampton
Exhibition
"Crowded Harbor," by Felice Waldo Howell
"Flower Arrangement" by Maud M. Mason
The canvases represent a delight- ful group of paintings by distin- guished women artists, all members of the National Association of Women Painters and Sculptors, of which Mrs. Emily Nichols Hatch is president, and Mrs. Joseph H. Choate, Mrs. John Henry Ham- mond, Mrs. Charlotte Coman and Mrs. H. Van Buren Magonigle are honorary vice-presidents. The ex- hibition was held in the Memorial Hall of the Parrish Art Museum
"Cloud and Shadow'' by Lucile Howard
Page Thirty-Nine
SuADOWLAND
l'hoto by Francis Bruguiere
JOSEPHINE MacNICOL
JT hose graceful dancing is one all-sufficient reason for the success of the fourth annual production of the "Greenwich Village Follies"
r<i<jc Forty
SUADQWLAND
American glass Cup Plate. Show- ing the portrait of Henry Clay. In the Collection of W. G. Bowdoin
m Mm
. -,.
Cup Plate of Willow Pattern.
In the Collection of W. G.
Bowdoin
J;*£m
American glass Cup Plate. Show- ing the Frigate Constitution. In the Collection of W. G. Bowdoin
"•*/; V
Cup Plate of Staffordshire Luster.
In the Collection of W. G.
Bowdoin
American glass Cup Plate.
In the Metropolitan Museum
Collection
Cup Plates of Olden
Times as Collection
Objects
ffy W. G. Bowdoin
NC<
MM
American glass Cup Plate. Gro- tesque subject. In the Metropoli- tan Museum Collection
THE first tea was brought into Europe in 1610. It was known in France in 1636, and reached Russia two years later. England welcomed it in 1650, and spoke of it as "That excellent, and by all physicians ap- proved, China drink, called by the Shineans Tcha, and by other nations, Tay, alias Tee."
Like all the good things of the world, the propaganda of tea met with opposition. Heretics like Henry Saville (1678) denounced drinking it, as a filthy custom. Jonas Hanway (Essay on Tea, 1756) said that men seemed to lose their stature and comeliness, women their beauty, thru the use of tea.
Something of this is reflected in a drinking song of the period —
To drink is a Christian diversion, Unfit for your Turk or your Persian ;
Let Mohammedan fools live by heathenish rules, And get drunk over teacups and coffee;
But let British lads sing, give a rouse for the King, A fig for your Turk and your Sophi.
Yet in spite of such handicaps, tea-drinking spread with marvelous rapidity. The coffee-houses of London in the early half of the eighteenth century became in fact tea-houses, the resort of wits like Addison and Steele, who. beguiled themselves over their dish of tea.
The beverage soon became a necessity of life — a tax- able commodity. It led to the revolt of the American Colonies because of the heavy duties laid upon tea.
The Boston Tea Party was the logical result.
Meanwhile the drinking of tea had exercised a pow- erful influence upon table furnishings, and the teacups and saucers, as well as the teapots, showed this influ- ence in the continued improvement in the fictile designs that obtained.
Our ancestors in England, and later in this country, in their tea-drinking habits, had no traditions to live down, or to destroy. They poured their tea into their saucers, and then drank therefrom shamelessly, and even with bravado. When they did this, they had no place- to put the cups, and our ancestral housekeepers could not stand the marking of their snowy linen or the polished San
Domingo mahogany, with the rims of the moist teacups, and so cup plates originated to fill a long felt want.
The collecting of cup plates nowadays is beset with many difficulties.
All the pieces of historic sets appear to have survived, except these miniature plates.
Some writers try to explain this by suggesting that the cup plates ultimately found their way" into the hands of destructive children with tremendous mortality, on the part of the said plates. This may be one reason for their scarcity. They surely are scarce.
In spite of their scarcity, however, the late Miss Clark of South Framington, Mass., specialized on collecting these cup plates, and succeeded in assembling over 400 pieces, which were shown at The Boston Museum of Fine Arts in August, 1916. Among these was a rare "Beauties of America" cup plate, which had on it a pic- ture of the Baltimore Exchange. Other notable exhibits in this collection were a "Stoughton Church, Philadel- phia," with the acorn border, "Mendenhall Ferry," "Savannah Bank," and the "Pittsfield Elm."
"Mendenhall Ferry" is quite unusual on a cup plate, yet two five-and one-half -inch plates, with this rare view upon them, have come to light in a negro cabin.
"The Savannah Bank" is more unusual still. Other rare plates in the A. Josephine Clark collection, were the Syntax, Wilkie and Don Quixote designs. The collec- tion was dispersed before the death of the owner.
The popularity of these cup plates was very great. They ranged in size from three to four and a half, or even five inches, in diameter.
There were two kinds of cup plates. One of pressed glass and the other of pottery forms, as produced by the Staffordshire potters, for the American market, and ] dates turned out by American manufacturers.
The pressed glass varieties carried such subjects as Bunker Hill Monument, The Frigate Constitution, The American Eagle, the portrait of Henry Clay, geometrical designs and decorative devices. At least one grotesque design was used.
(Continued on page 76)
Pane Forty-O'
SuiADQWl/XND
"Tosca," a la Winter Garden. James Watts and Annan Kaliz
Raymond Hitchcock, the inimita- ble— to judge by the numerous imitations we've seen
^
If you only give him enough rope, he'll amuse you. Will Rogers in the "Ziegfeld Follies"
After the Smith Brothers, the two best-known men in America. Messrs. Gallagher and Shean. In the "Follies"
Michio Itow—several of him, ap- parently—in "The Pin Wheel"
Reginald Marsh
Visits
Broadway
and
Wields a
Wicked Pencil
Page Forty-Tivo
SuiADOWLAND
Dada and the Dadas
B;y Alfred Kreymborg
WHEN Paris is bored, sad, weary, Paris takes to the latest fad. There is always something perennial about the old lady who has lived thru so many centuries of war, foreign wars, civil wars, re- ligious and revolutionary, and who still moves slowly and painfully, as with a crutch, to the millions of memories — one sees deep mourning everywhere — of the late world war. And so, Paris linked her ancient arm, which has graciously and gaily accepted so many advances heretofore, with the very newest of brazen youths : the Dadas. That is why the city on the Seine is still the wisest as well as the loveliest of cities, and the most civilized. For only when one has achieved civilization, can one afford to be foolish, absurd, non- sensical. If it has any meaning at all, Dada means nonsense. Francis Picabia, one of its leaders — whom I first encountered in New York ten years ago — defines Dada thus :
Dada smells of nothing, it is nothing, nothing, nothing It is like your hopes : noth- ing like your paradise : noth- ing like your idols : nothing kke your politicians :
nothing like your heroes : nothing like your artists : noth- ing like your religions : noth- ing |
Dada, in short, ex- presses the disillusion- ment of youth, of ado- lescence. Those who went into the war penetrated it with a complete illusion of some sort, only to come out with nothing more tangible than utter disillusionment. Dada is the result. Dada is the tragedy of disappointment, and
like so many tragedies, lest it go mad or commit suicide, wears the mask of comedy, buffoonery, farce. Farce is what Dada wears most of the time.
I have met many of the Dadas. They are charming fellows. I like especially one of the Daddies of Dada — a Roumanian — with the picturesque name, Tristan Tzara. We have had several seances. Fie is small, and like most small men, patient. He is hardly bigger than Napoleon, and like Napoleon, plans the campaigns of Dada, and like Napoleonic campaigns, Dadaist campaigns come to nothing. Small men have farther to go than tall, and so they are patient, as Tzara was patient elucidating the manifold mysteries of Dada. He is the spokesman of Dada, has drawn up many of its engaging manifestos,
Yes, this is a portrait of a man. It is Arp's portrait of Tristan Tzara, a founder of Dada
which are printed on broadsheets and billboards and dis- tributed to the four winds. He is, as Marcel Duchamp expresses it, the "traveling salesman" of Dada, its press agent everywhere. The publicity campaign would stagger the mightiest American drummer. Heinz's 57 Varieties, Smith Brothers' Cough Drops, Carter's Little Liver Pills, The Ingersoll Watch — these and our other countless familiars might learn much from Dada. There have been no less, Tzara tells me, than twelve thousand articles about Dada, articles which have appeared in France, England, Italy, Switzerland, Germany, Russia and the Balkans. Dada is almost universal. There are Dada movements in the shape of magazines, art galleries,
theaters or concert halls in all of these countries. Even New York has a modest little group, led by the painters, Man Ray and Joseph Stella, and Edgar Varese, French conductor of the late New S y m p h o n y Orchestra.
Dada was born dur- ing the year 1916 in the Cabaret Voltaire in Zurich, Switzerland. It was founded by men of different na- tionalities, Tzara, a Roumanian ; Arp, a Swiss, and Huelsen- beck, a German, in all the innocence of men foregathering in a neu- tral cafe for discussion of the relative merits of the particular art movement to which they belonged : Tzara to the Expressionists, Arp to the Futurists, Pluelsenbeck to the Cubi.;ts. Each decided to lay down the arms of his own creed in be- half of a broader plat- form of international- ism in art in which there must be no To Tzara belongs the credit of finding the name for the movement, Dada, which derives from the French word for hobby-horse. "All is Dada," writes Paul Dermee, "everyone has his hobby-horse. You worship your Dadas, of which you have made gods. The Dadaists know their Dadas and laugh at them. It is their great superiority over you." There was no expectation on the part of the three con- spirators that, from the privacy of cafe gossip, Dada would break out into a European disease. Each man was to do his work in his own way : the old song of the individual evolving his own salvation. Nevertheless, Dada soon spread to a brotherhood which denied all isms, (Continued on page 70)
recognized language or symbol.
Page Forty-Three
SuADOWLAND
Photo by NicKoias Muray
BLANCHE YURKA
Distinguished ictress, and entrant in the beauty contest, icho plans, among other interesting things, to do a series of special matinees next winter of Maeterlinck's "Mona Vanna"
Page Forty-Four
^UADOWLAND
Of Which Song Is Made
B;y Gladys Hall
"Still loving song, but loving more Life, of which song is made . . ."
THESE words are Harry Kemp's autobiography. They tell the whole of him. They tell him so val- iantly and so well that to attempt further delinea- tion seems to profane something simply and exquisitely executed. To go on makes for mere words . . . For, unwittingly, perhaps ; felicitously, certainly, he has summed up his existence and his philosophy in a phrase.
He has been called "The Tramp Poet." Perhaps he is as well known by that name as his own. Once I said to him, "Did you come by the title vicariously or actually? Of course I have heard of adventures here and there, but between what one hears and what is true . . ."
"Oh, actually," he said, "actually and honestly. I was a tramp. It couldn't be better earned than that. A regular hobo of the road. There was a time when I camped beside a little lake in Jersey with about five pennies and some raw whole wheat between me and what is known as starvation." He added reminiscently, "I wrote my best sonnet there."
Which brought to me, ir- resistibly, some words of Richard Le Gallienne's, written in a preface to Mr. Kemp's volume of verse. The Passing God: "You will seek in vain," Mr. Le Gal- lienne says, "for the tramp, but there is not a page on which you will not find the poet."
There is about Harry Kemp something more vital than I have ever encount- ered before. There is an exuberance ; an interest, a joy of living keen and in- genuous. He loves the days and the nights ; he loves sor- row and joy because they, each of them, are a part of life, and every part of life he finds infinitely worth while. He loves the things he does, the people he meets, the past, the present and the future. He is never bored. The word ennui is probably the one word his vocabulary does not em- brace. He has no under- standing of people who, idly embittered, wonder what it is all about. Stale moments are not his.
In his preface to Chan- teys and Ballads, he says : the unimportant has been
The Daughters of Heth
"/ am weary of the daughters of Heth." — Old Testament.
The daughters of Heth were lovely girls,
Who broke men's hearts in their prime — Who have handed down their long descent
From the patriarchs' olden time, Whose daughters' daughters' daughters thrive
On the wrecks of the hopes of men. The gayety of whose timbrels, still.
Has wantoned, each age, since then ! For the Toil of Man must have its Mate
Nor strive with its dream, alone, Tho it get the shell that holds no pearl
Or the kiss that gives the groan . . . For the daughters of Heth are full of the dark
That roars with a sudden fire ; The daughters of Heth are no men's mates,
Yet every man's desire ; They are rudderless ships with silken sails
That thwart the captain's plan. The daughters of Heth are as sure as death
To break the soul of a man. Their hands are warm with tenderness ;
They stroke till they win their way, Tho what it is that they would have
Themselves can never say, Enough that they gain their quick desire
As the slave would have his hour If even himself he must destroy
To taste the master's power ; For their days are ruled by the peacock's pride
And the vanity of the ape, The mantel full of tinsel stars,
The gaudy, crimson cape, The jackdaw's glitter of broken shreds,
The mirror of polished brass . . . O, the strength of the man that leans on this
It is brought to a sorry pass !
Harry Kemp.
lost; the everlasting aspects remain .... and it is that quality of the everlasting aspects one senses in him. A something broad and sweeping and tremendous and deep. He has, somehow or other, got down to the throbbing fundamentals of human consciousness and has been able to rciua.ii! there. Fie has known what he wanted. He has never lost his way.
"I always knew what I wanted," he said, "even when. as a boy, I ran away from home so that I might be free." "Home," with the Tramp Poet means, literally, his birthplace, and that was Youngstown, Ohio. The date of his birth being December 15th, 1883. His mother was an Englishwoman, and it is to her that he attributes much of his sensitive response to song. His father's forbears
were Pennsylvania Dutch.
He was twelve when he definitely severed his con- nections with the halls of learning, and until he was sixteen he worked in a cel- luloid factory and, undoubt- edly, carved out the restless road of his heart move as he worked. At sixteen he ran away to sea, shipping as cattle man on board a Ger- man ship bound for Aus- tralia. He appeared in China during the Boxer rebellion. Then he returned to this country and took a turn at high school. But the high sea and the high road had blended with his blood. He could learn more where no walls hemmed him in, and so, with a volume of Chris- tina Rossetti and a copy of the Bible in his pocket he tramped the Genesee Val- ley. He went to jail in Texas ("unjustly, as it happens, but what does that mat- ter?") he informed me, and then he dropt in for a brief visit with Elbert Flubbard at his Roycraft Shop in East Aurora. There were vari- ous other brief sojourns in schools and colleges, and here and there he managed to acquire a reading knowledge of Latin and Greek.
The great English poets have been Mr. Kemp's chief influences and masters, and to visit their homes and their final resting places inspired, not long ago, his stowaway trip abroad. He had to go to jail again, too, but he did get to Westminster, Strat- ford-on-Avon, the Cheshire Cheese and others. So what {Continued on page 67)
Page Forty-Five
SuiADO'
WLANO
Photo by Francis Brugu
INTERPRETING WALT WHITMAN
Ian Maclaren, as the good grey poet, in the festival based on the Whitman poem, "Salut du Monde," which was a unique contribution to the theater of the season because of the unusual and beautiful effects of the com- bination of dancing, music and choral speech
Page Forty-Six
SuADQWLAND
Photo by Sherril Schcil
BASIL SYDNEY
A character study of the man who has brought another vivid interpretation to the role of the hero-clown in the Theatre Guild's production of Andreyev's tragedy of the circus, "He Who Gets Slapped"
Page Forty-Seven
SuADQWLAND
Photo by Strauss-Peyton Studios
Photo by Evans
Thomas Meighan, who has a won- derful part in the relentless district- attorney who sends the woman he loves to the penitentiary
Leatrice Joy, who plays the patri- cian Lydia in Paramount's ver- sion of Alice Duer Miller's widely read novel
This looks like a variation of "Civic Virtue," but actually it is symbolical of a theme in the sto- ry, so Cecil B. de Mille assures us
u
Photo by Donald Biddle Keyes
Page Forty-Eight
Manslaughter"
SuADOWLAND
Frank Reicher in the vivid final scene of the symbolic "From Morn to Midnight"
American Audiences and European Plays
What of O'Neill and Akins, in the face of the increasing popularity of Maugham, Bahr, Ervine and Other Continentals?
B;y Louis Raymond Reid
THE New York theater audience has hecome con- tinentalized. It accepts — and more, it seeks — in its plays the cynical philosophy, the supersophistication that are part and parcel of the European theater. This opinion is not merely held by actors, managers and critics, all of whom are in close touch with all phases of the play- house, but it is voiced by theatergoers themselves who profess to be observant of amusement tendencies. Indeed, the Continental viewpoint is being exerted more and more by New York audiences, particularly by those that assem- ble at the premieres of plays.
Such authors as Molnar, Maugham, Schnitzler, Bahr, Ervine and Galsworthy are finding increasing favor here, while Ibsen and Shaw continue to hold their long prestige. The Continental vogue really started with Ibsen. A great dramatist, a great thinker, an unyielding realist, he was placed among the supermen of the theater by the New York public quite as readily and quickly as by the cul- tured Europeans. Mrs. Fiske broke a lance for him in the dim past of a generation ago. Since then he has been played at intervals by such actresses as Nazimova, Mary Shaw and Madame Kalich. With Ibsen as the torch-bearer, other dramatists of Europe have descended upon New York with plays of bitter realism and scorching truth- seeking in the one hand and clever sophisticated comedies in the other. And they have conquered. They have left their impress upon our own dramatists, especially upon ' the work of Eugene O'Neill and Zoe Akins.
Close after Ibsen came Shaw, bringing a new manner, a new technique. A follower of Ibsen, he said unpleasant things in a pleasant way. He found an eager and appre- ciative public which preferred his style to that of the relentless Norwegian. He fed his audience, like Ibsen, with bitter pills, but he took care to coat them with sugar.
In a large measure he is responsible for the vogue of the Continental playwright who has cynicism and cleverness on his side. Shaw was the pioneer. And now Molnar, Galsworthy, Maugham (not the amiable Maugham of the Charles Frohman clays, but the merciless and ironic critic of society), Brieux, Ervine, Berger, Andreyev and others are reaping the benefits, tho none of these has the Shavian facility — perhaps it is desire — to say unpleasant things pleasantly.
During the current season, the foreign playwright has been especially conspicuous en the New York stage. A large number of their works, it is obvious, would find but little welcome outside of New York. Here, however, there is a great and increasing audience for them. Such plays as "The Nest," by Geraldy, and "Madame Pierre," by Brieux, and the Russian supervaudeville, "Chauve- Souris," require discriminating, cultured audiences. It is a fine testimonial to the development of New York's theatrical taste that all of these attractions are prospering here. The first audience at "Chauve-Souris" was over- whelmingly cosmopolitan. And it is this cosmopolitan character of New York's population that has made the city the haven for the best — and occasionally the worst — of European drama.
Molnar's diabolical whimsicality was not accepted here at first. His "jlf Ignorance is Bliss," one of the finest comedies ever tjo have reached the New York stage, was a failure when presented. Since then he has grown more and more in favor, and now the public raises such a work as "Liliom" to the gallery of pronounced financial suc- cesses. Maugham's "Our Betters" drew a small public, but Maugham's "The Circle" was hailed as a brilliant comedy and had a run of several months.
(Continued on page 78)
Page Forty-Nine
StfADUWLAND
_
Photo by W. F. Seely
PAULINE FREDERICK
After a summer presentation of "Lawful Larceny," in London, Miss Frederick will return to the Neiv York speaking stage this season after an absence of eight years. Her new offering is a play entitled "By Right of Conquest." It is from the pen of Michael Morton, and vjill be produced by Arthur Woodj
Page Fifty
DORIS HUMPHREY
With a small com- pany, Miss Humph- rey is presenting a series of artistic Terpsichorean di- vertissements in the vaudeville theaters of the Or pheum Circuit
Photo Dy Strauss-Peyton
Page Fifty-One
Photo by Hungeiford
The Bishop's Palace and its Feudal Moat, at Wells, near Bath
A Threshold of the Long Ago is Bath
Her Very Sedateness and Serenity Bespeak Generations of British Taste and Tradition
By Edward Hungerford
OF all the cities in Britain there is, in my opinion, not one quite to be compared with Bath. There are lordlier towns — yes, others even aside from great London, itself — there are more wildly picturesque towns — if you demand a definite instance, Edinburgh — there are far gayer spas — Harrogate and Brighton — seemingly a thousand British towns, brisker in their com- mercial endeavors. Yet in Bath you have all these qualities — all save that of the rush and roar of business. Business and Bath do not seem to go together. It is far better so.
For all else Bath has. Antiquity — the lovely traditions that these many years have woven themselves into a fine web of romance over the old city, the rare charm of a truly beautiful location; these things certainly has this most historic of all English watering-places. Then, to her site amidst the high hills of Somerset, to her astonishing juxta-position of houses and parks and tantalizing streets and open places comes her final added charm of good architecture. Here was almost the very birthplace of the Georgian style — we Americans do so delight in calling it the "Colonial." In Pulteney Street and the other thoro- fares of the old town, the brothers Adam and the Woods
— father and son — wrought some of their finest creations ; houses that have left their definite impress not alone upon England but upon our own great republic three thousand miles away. One could easily write a whole book upon the fireplaces of Bath. And another upon its ceilings.
If you go by rail from London down the one hundred and seven miles to Bath (in England one always goes "clown" from London, whether he goes north, south, east or west) you will have a rather dreary two hours — yet two hours aboard a train of astounding swiftness. The first time that I went down there from Paddington Station (in the west of London) I was rather astonished when the booking-agent told me that there would be no dining-car upon the train ; even tho it was advertised as an express and made its journey thru the noon-tide period. What a stupid, stodgy, old-fashioned railroad, this non-com- petitive Great Western ! And what a stupid, stodgy sta- tion-agent to tell me that whopper about the dining-car! For here, under the smoky roof of old Paddington was a restaurant-car upon my train — all bright and red and gold with its spick-and-span steward, all blue and gold, and
Page Fifty-Two
SuADOWLAND
smiling to take my orders . . . But not if I was going to Bath. He would receive me in his itinerant restaurant if I were going to Bristol . . . But not to Bath . . . Why not ? I gave vent to a reportorial curiosity :
"You're in a slip-carriage, sir," said he. Of which at the moment I knew nothing what- soever . . .
Two hours later we had crawled thru the tremendously long bore of Box tunnel and, emerging, were scurrying down a railway grade into the old spa of. Bath itself . . . The entire quality of the country had been transformed — instantly. Gone was the dreari- ness of the high and sandy plateau which we had been traversing ever since we had left the Thames side, nearly an hour ago. In its place was come the vista of a deep valley — a valley in whose heart ran the silver Avon on its way to the sea. From the sheen of the river the uplands rose, open fields and many a close copse, all fresh and verdant as only an English countryside in the spring may ever be. (A little later the Bath-folk were to tell me, that by some strangely paradoxical local traditions, these same uplands were called the downs. These English have such fanciful ways in their nomenclature). . . . But never mind that. You are now looking with me for the first time down into the lovely Warleigh valley ; rising on either side from the Somer- set River Avon ... A valley for romance. Such a valley to which Robin Hood might have blown his horn or Pan his pipes. You could have staged "Midsummer Night's Dream" upon its breasts — and suffered no in-
{At the right) An ancient canal threads the town
of Bath and bores thru innumerable "tunnelettes."
(Below) The quiet streets bespeak its generations
of culture and taste
Photos by Hungerford
congruities. An amphithe- ater for chivalry. And in- deed upon the morrow when I was to venture forth to see the ruins of an ancient castle, which for me forever holds a peculiar and a poignant interest, I was to see in each nook and cranny of the battered walls which time and battle had permitted to remain, how hard had once fought the doughty Cromwellians and their equally doughty an- tagonists— in this very val- ley, which now sleeps so peacefully.
* * *
Bath is seated upon the steepest slopes of the nar- rowest part of this valley of the Avon — it is so narrow that it comes near to being an absolute impasse. When first the town confronts you from your car window, you will be sure to note the great regularity of its ter- raced rows of grey-stone
Page Fifty-Three
SuiADOWLAND
Photo by Hungerford
An English countryside is the most wonderfully verdant thing imaginable
houses : — in the distance they look like the handi- work of some small boy, ex- quisitely neat with all his toys . . . Grey houses and the deep, dark greens of English foli- age . . . Grey houses and amidst them, church-spires . . . Church- spires, yet not one amongst them half so impressive as the solid square Gothic tower of Bath Abbey; of which more in good time . . .
A terraced town upon the opposite side, up to
the very top of the down, more than seven hundred feet above the river. Our side is lost. We catch a vista here, a vista there of an ancient and lovable canal, then the light itself comes in blotches and in intervals. Our railway car is threading a series of small tunnels under one of the town-parks ("tunnelettes," a track repairer called them to me two or three days later, in all seriousness). We cross the Avon and pull into the unpretentious railway- station of Bath. . . There ensues the hectic business of gathering the hand-baggage together ... A station-por- ter thrusts his head into the open window of the carri- age .. .
"No hurrv, sir," says he. "This carnage goes no far- ther."
. . . When we emerge upon the station-platform we find that the car (the English always call it a "carriage") stands all alone upon the track. We make a friendly en- quiry as to the whereabouts of our nice, swift train.
"It's halfway to Bristol by this time, sir," says the porter.
Now we know the meaning of a slip-carriage upon a British railway. We also know why we could not lunch in the restaurant-car. There are no passageways between the slip-carriages and the rest of the train.
But why worry about lunch? Twenty minutes later we are seated in the dining-room of one of the most charming hotels that one might hope to find in the entire length and breadth of Great Britain . . . We had started forth for Bath, nursing a secret hope that we might be domiciled there in the White Hart — our memories of the Pickwick Papers are pretty active, even after all these years . . . But alas, there no longer is a White Hart. In its honored place there arose, more than half a century ago, the Grand Pump Room Hotel. There are other hotels in Bath, and good ones, too. But, for ourselves, we could never, never pass the door of a hostelry that boasted so mellifluous a name as the Grand Pump Room. It might have been the worst hotel in the town and we still should have
gone there. But it is not the worst. I honestly think, altho never having tried another, that it is the best. It cer- tainly is as good a tavern as any way- farer might seek as a haven and a roof over his head. More than this he has no busi- ness to ask
Across from its door is the Pump Room — a two storied stone structure, of a rather simple classic type, which altho built more than a century ago has in recent years been improved by the Corporation of Bath — at a cost of some two hundred thousand dollars. It con- tains in its basement and lower floor not only the ruins of the superb bath-house which the Romans built more than two thousand years ago, but an elaborate and modern bathing equipment of a most varied sort. The warm, healing waters of Bath are in no way disagreeable ; neither to the smell ncr to the taste. The dictum of the local physician who looks at your little finger and says that you have the gout (if he had had a chance to look at your big toe, he might have pronounced it something quite different) and that in addition to bathing in the waters twice a day you shall drink forty-eight quarts of them a week, therefore brings no great hardness nor physical discomfort in its train. On the contrary it gives you something quite definite to do. Which, upon an ex- tended vacation, is almost always quite a blessing.
I desist. This is no guide-book. We are talking of the external charms of Bath, and not the internal ones. And so we shall pass the bathing establishment by taking one final look, however, at the Pump Room itself — the holy of holies of the place. It is a well proportioned apart- ment, high-ceilinged and some sixty by one hundred feet in its dimensions. There is a bar along a broad alcove at one side where you may go to work at your forty-eight quarts in every possible interval. But the lion of this ample and altogether charming room is a huge statue of Beau Nash.
Beau Nash! Shades of Monsieur Bccucaire! What a man this was — this dandy of nearly two centuries ago, fop, arbiter of social destinies, feared, hated and — once or twice — loved. This Ward McAllister of eld Bath was no fool. Trained at Oxford, in the Army and in the shadowy Inner Temple of legal London, he possessed rare qualities of real executiveness. Without them he never could have risen to his years of social domination in one of the most socially brilliant communities that the world has ever known. Without them — and a quick and ready wit. It is related of him that once at one of the formal Assemblies (Continued on page 72)
Page Fifty-Four
Vanni Marcoux
of the Opera Comique
Very young, very brilliant, and very popu- lar with his Pa- risian public, is this artist with the lovely bary- tone voice
While the photographs depict him as Lorenzoc- cio, M. Marcoux is no less popular in the bary- tone parts of "Carmen," "Manon," "Otello," "Tosca"' and other roles of a long repertoire
Page Fifty-Five
Si-IADOWLAND
MARY LEWIS
1
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xMURIEL STRYKER
Page Fifty-Six
SuAOOWLAND
Shadowland
Goes to "The Follies"
Sketches by Wesley Morse
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MARTHA LORBER
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Pa<7<? Fifty-Seven
IN YORK COUNTY
By William Elbert Macnaughtan First Prize
Page Fifty-Eight
Camera Contest Winners
On this and the opposite page are the suc- cessful competitors of this month's contest. On the following page, the second prize winning picture. Full details of the con- test will be found on page seventy- eight.
(Above)
THE COOLIE
By Arthur D. Chapman
Third Prize
THE TENDER BUDS OF SPRING
By Josephine M. Wallace
Honorable Mention
(Above) THE BOAT HOUSE
By F. Detlefsen Honorable Mention
(Left)
STILL LIFE
By William Jordan, Jr.
Honorable Mention
Page Fifty-Nine
MONK
Amalfi, Italy
By Myers R. Jones
Second Prize
Page Sixty
Mildred Harris and Kamarela Searles in "A Fool's Paradise"
Life Gives Us These
By Charles Divine
Life gives the shepherd a star to watch The long, dim night on the lonely hill ; The dreamer, a house with a little gate And an easy chair on the silent sill.
Life gives the lover the crescent moon To hang on his eyelids and finger-tips ;
And poets, the songs that stir in their hearts Forever to madden their restless lips.
Life gives the rover a sea and a sail ;
The peasant, a meadow and furrows of sod. And gardens where often the hawthorn blooms, And churches wherein he may worship God ;
The streets of a village, a blacksmith's shop That echoes the anvil the livelong day, And merry-go-rounds and country fairs, And lilac bushes and kisses in May ;
The curved roads of summer, tree-fringed and cool, And walls with wistaria, mystery, song,
A cottage whose windows are golden at eve. And corners where candles are guttering long ;
A red-striped table-cloth, odors of roasts, A kitchen with copper kettles a-gleam,
And bright, clean pans in a rack on the wall, And white wine under an oaken beam.
Life gives us these, nor haggles for price, Except that we see and, seeking, we find,
And whether life comes to us once or twice — That, too, is a question to twitter the mind.
An open fire in a darkened room,
The night outside on the window-ledge.
The crackling logs and cravens of light,
And the sound of the wind in the tumbling hedge ;
The lazy patter of rain on the roof,
Singing a lullaby over your bed, A night of soft airs and murmuring leaves,
And a pillow of dreams for a weary head.
There are books to read when the world is dull. There are roads to walk when the books are dry,
There are sunsets to follow when roads are long, And dawns that even a fool can buy.
A salt wind blowing, and far-away lands, Francs and shillings and nickles and dimes,
Carnivals, gondolas, whispering nights, Japanese lanterns and rivers and rhymes.
An open cab with a loitering horse,
The harness a-tingle with cow-bells light,
And city streets where the faces pass, And towers that loom on a moonlit night.
A woman's love and a mother's pride,
A coming-back-home from the wandering tours,
The sight of a doorway known to the heart, The grip of an old friend's hand in yours.
Oh, write it down in a thousand books,
And carve it deep where the winds will sigh, And weave it into the singing brooks : Life gives us these, before we die.
Page Sixty-One
We
Artistic
A. S. M. HUTCHINSON
There are rumors that the au- thor of "If Winter Comes" will visit America this fall, when his new novel, "This Freedom," is published. Cyril Maude will have the role of Mark Sabre, when the dramatic version of the earlier romance is presented to New York next winter, while the film rights have been acquired by the Fox corporation
Photo © E. O. Hoppe, London
A. A. MILNE
Who has followed his successful com- edies, "Mr. Pirn Passes By," "The Dover Road" and "The Truth About Blayds," with an equally popular book, "The Red House' Mystery." Writing of the latter, he says: "I have always adored detective stories'. ■ One day about three years ago, I thought of rather a good way of murdering somebody, so I began to write the first chapter and left the rest of the story to take care of itself"
Page Sixty-Two
oto © E. O. Hoppe, London
Focus Personalities
F. FABIANO
We learn with pleasure of the recent arrival in America of the clever foreign artist whose work is endowed with the inimitable grace of French art. His femi- nine types have long charmed the readers of the gay Parisian publications, "La Vie Parisi- enne," "Le Hire," and "Fantasio"
HENDRIK WILLEM VAN LOON
Recently awarded the first John Newbery medal by the American Library Associa- tion for the most distinguished contribu- tion to American literature for children, "The Story of Mankind." Few people will quarrel with the award to a history that has taken rank with the best of best- selling novels and has fascinated grown- ups even more than the younger genera- tion for whom it was intended
Photo © Underwood & Underwood
Page Sixty-Three
SuiADOWLANO
Double faulting becomes excessively monotonous as the minutes wear by, but Lucile persists. "My dear little dynamo" perspires Henry, in the ver- nacular of his profession, and so sustains her to the end. "My dear little pet dynamo," it will be yet more intimately over the teacups. Oh, what more lovely in her mind than to be condoned for the very faults she is inclined in more lucid moments of play with her own sex to despise
Hardly to oulstroke the Indefatigable Male would an all night flapper rise at 6 A. M. We expect a reaction to Lucile's essential feminism which nowadays she affects to disdain. "I wonder," so she communes, swinging a wicked iron, "whether Henry would still adore me as a devotee of his favorite game if he kneiv that the only real argument I have for golf is its positively radical effect on the complexion"
Lucile
Goes in For
Sports
Thereupon we reveal Ulterior Motives for her Athletic Foibles
Sketches by Olive Butler
Page Sixty-Four
&iADOWLT/\ND
The delicate hobbies of her forbears would scarcely have embraced creatures of low biological import such as Donald impales upon her hook. Free from the grosser brutalities of the sport, Lucile should blossom into sustained and rosier vigor. "But," she exasperates, "if only- Henry had not bragged that I was the best little angler this side of the Alle- ghanies, I might drop this farce and save his pet rod from absolute ruination"
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The piteous withdrawal of Lucile to the onslaughts of ants-variegated, and spiders-hairy, as she has them cataloged in her own peculiar lexicon, are lost on a brute like Henry, to whom the sizzling of bacon over a fire is panacea for any discomfort endured in the open. - '"I should say," palpitates Lucile, "that Henry has rather a flair for domestic- ity," and folds^ the revelation compactly away for later u:e
As a method of bathing, porcelain plumbing is as- suredly less hazardous than a leap into the bosom of the sea, when thoughts of heaped jelly- fish and oyster shells supine, swamp her timid brain „ afresh at every dive. "I would almost rather be laughed at for doing a perfectly safe and sane Daily Dozen in my room," mutinies Lu- cile, "than to be adored as a picture of uncon- scious grace — but," she adds, "not quite"
Page Sixty-Five
Photos © Underwood & Underwood
Based on an old Irish legend told to1 them by Padraic Colum, the pupils of, the Children's School, of New York, recently not only wrote but produced "The Tooth of Knowledge," without the aid of a single grown-up
Expressionism
in the
Children's
Theater
To design costumes, furniture, drop curtains, and arrange the program were only a few of the details of the work assumed by the aspiring Thes- pians, whose ages ranged from ten to twelve years
Page Sixty-Six
SUAOQWLANO
Of Which Song is Made
(Continued from page 45)
did that matter? But it would seem that he has walked exhaustively thruout the uttermost realms of all poetry. Nothing has escaped him. Poetry, the love of poetry, the living of it and the writing of it, has been the passion of his life. He knew it almost as soon as he cov.ld con- sciously know anything and the loyalty to it and the desire for it has never departed from him.
"If I seem to have achieved freedom and content," he said to me, "and I have, it is be- cause I was fortunate enough to know myself from the very beginning. I have never had any doubts."
Apart from his philosophy of life, which is sharp with the tang of interest and enthusi- asm, there is his poetry with which I hesitate to deal too explicitly. The faces of women are in it, and the rapturous love of women. God is in it and the solemnity of the_ old re- ligion— the old Scriptures. Spiritism is in it, and the belief which has, of late years, been touching the world with hope. Red blood is in it, and the sea and the camaraderie of the open road. Resurgent hope is always in it. There is nothing mordant, nothing involved, nothing artificial nor pretentious. One reads and, perfectly, with a quickened heart-beat and a quickened spirit, one understands what he means and, beautifully, why he means it.
He says, also, in his preface to "Chanteys and Ballads,-" and referring to h;s reading of the Bible while he was in the Texan jail:
"And Christ walking about Judea, along the roads and from inn to inn, somehow, got into my soul ..."
These are beautiful words. They are the more beautiful because they have been said with meaning. The deep and true meaning that comes from the heart of a man who has met death and tragedy, head high. Who has sought out high romance, high adventure. Who has faced hunger, jail, exile and warfare, and still and always, high above his head, main- tained, triumphant, the shining sword of song.
His own "Farewell" makes further mock of further words :
"Tell them, O Sky-born, when I die, With high romance to wife, That I went out, as I had lived, Drunk with the joy of life.
Yea, say that I went down to death Serene and unafraid, Still loving Song, but loving more Life, of which Song is made."
iiiiiiiiimiMiiiiiimiimmimiiii
MOON WORSHIP By Elliott W. Hough
0 moon —
Because you create not
But reflect,
Because you are passionate
But still recessive,
Because you are a thing of beauty
Loved by lovers,
Because you ask only admiration
Which can be freely given,
Because you sing of love
And unfilled desire —
You, emotional Queen.
1 deify.
Help me, voluptuous One,
To avoid truth
And reality.
Deliver me from rationality,
In whose foul clutches
I writhe.
With illusion and mysticism
Fill my heart,
That 1 may live.
Teeth You Envy
Are brushed in this new way
Millions of people daily now combat the film on teeth. This method is fast spread- ing all the world over, largely by dental advice.
You see the results in every circle. Teeth once dingy now glisten as they should. Teeth once concealed now show in smiles.
This is to offer a ten-day test to prove the benefits to you.
That cloudy film
A dingy film accumulates on teeth. When fresh it is viscous — you can feel it. Film clings to teeth, gets between the teeth and stays. It forms the basis of cloudy coats.
Film is what discolors — not the teeth. Tartar is based on film. Film holds food substance which ferments and forms acid. It holds the acid in contact with the teeth to cause decay.
Millions of germs breed in it. They, with tartar, are the chief cause of pyor- rhea. Thus most tooth troubles are now traced to film, and very few escape them.
Must be combated
Film has formed a great tooth problem. No ordinary tooth paste can effectively combat it. So dental science has for years sought ways to fight this film.
Two ways have now been found. Able authorities have proved them by many careful tests. A new tooth paste has been perfected, to comply with modern require- ments. And these two film combatants are embodied in it.
This tooth paste is Pepsodent, now em- ployed by forty races, largely by dental advice.
Other tooth enemies
Starch is another tooth enemy. It gums the teeth, gets between the teeth, and often ferments and forms acid.
Nature puts a starch digestant in the saliva to digest those starch deposits, but with modern diet it is often too weak.
Pepsodent multiplies that starch digestant with every application. It also multiplies the alkalinity of the saliva. That is Na- ture's neutralizer for acids which cause decay.
Thus Pepsodent brings effects which modern authorities desire. They are bring- ing to millions a new dental era. Now we ask you to watch those effects for a few days and learn what they mean to you.
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Mail 10-Day Tube of Pepsodent to
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Page Sixty-Seven
Si44DQWLAND
Stage Plays of Interest
(Readers in distant towns ivill do well to preserve this list for reference ivlien these spoken
plays appear in their vicinity.)
Belasco. — Lenore Ulric in "Kiki." David Belasco's production of his own piquant adapta- tion of Andre Picard's French farce. Miss Ulric scores one of the big hits of the season with her brilliant playing of a little gamin of the Paris music halls. You will love Kiki as you loved Peg — but differently. A typically excellent Belasco cast.
Belmont Theater. — "Kempy." While em- bracing many characteristics that recall "The First Year," of blessed memory, this very hu- man domestic comedy is no less welcome because of that. Demonstrating as well the versatility of the Nugent family. Fa- ther and son collaborated in the playwriting, and fill two of the chief roles on the stage, with mother and daughter supplementing with two others. Truly a family affair, but a delightful one, with an abundance of refreshing fun and an absence of domestic scandal.
Bijou Theater. — "The Dover Road." A simple little romance of a crusty bachelor in the guise of a deus ex machina. He
delights to set right the affairs of hasty couples who are traveling the English equivalent of the road to Reno. He literally intercepts them en route, and of course becomes caught in his own net. Charles Cherry and an unusually able English company give a most finished per- formance. A. A. Milne is the author.
Century Roof. — The "Chauve-Souris" of Nikita Balieff and his Russian entertainers from Moscow. Second bill. Superb aesthetic vaude- ville done with a touch of genius. Be sure to see this. Morris Gest deserves a laurel wreath for bringing Balieff and his fellow-en- tertainers across the ocean. You will fall in love with the superbly perfect "Parade of the Wooden Soldiers," the stirring music-box polka, "Katinka," and the haunting melodies of the gypsies in "A Night at Yard's."
Cort. — "Captain Applejack," amusing melo- drama delightfully done.
SHADOWLAND'S
List of Plays and Revues
You Should See
"The Music Box Revue"
"Kiki"
"The Chauve-Souris"
"Partners Again"
"The Follies"
Garrick. — "He Who Gets Slapped." The Theatre Guild's interesting production of the Andreyev tragedy of a circus clown, told with all the haunting overtones of the Russians.
Globe Theater. — "Good Morning Dearie." A musical comedy put together with Mr. Dil- lingham's inimitable touch. In other words, a sure-fire hit. Featuring Harland Dixon and Adele Lewis, and some very catchy music. Harris. — "Six Cylinder Love," with Ernest Truex. The season's big- gest sell-out and a real hit. Presenting the problems of a couple trying to live up to their car. Plenty of laughs.
Morosco. — "The Bat," hair-raising melodrama, which had its premiere August 23, 1920. Still drawing crowds.
Music Box. — Irving Berlin's "Music Box Re- vue." The biggest mu- sical hit of the year and a fast-moving entertain- ment, studded with clever comic hits. The fine cast includes Sam Ber- nard, Willie Collier, Florence Moore, Wilda Bennett, Mr. Berlin him- self, Mile. Marguerite, Emma Haig and Rose Rolanda. The staging is a credit to Hassard Short.
National. — "The Cat and the Canary." A tense and creepy melodrama that is a logical successor to "The Bat" as New York's favorite thriller. You'll hold the arms of your orches- tra chair all thru this.
Neiv Amsterdam.' — "Ziegfeld Follies of 1922." "Glorifying the American Girl." More gorgeous, more elaborate, more expensive, more distracting, and a little funnier than usual.
Palace. — Keith vaudeville. The home of America's best variety bills and the foremost music hall in the world. Always an attractive vaudeville bill.
Sehvyn. — "Partners Again." Perlmutter, funnier than ever.
Potash and
Loezv's N. Y. and Loew's American Roof. — Photoplays; first runs. Daily program.
Loezv's Metropolitan, Brooklyn. — Feature photoplays and vaudeville.
Capitol. — Photoplay features plus a de luxe program. Superb theater.
Rivoli. — De luxe photoplays with full sym- phony orchestra. Weekly program.
Rialto. — P hotoplays supreme. Program changes every week.
Strand. — Select first-run photoplays. Pro- gram changes every week.
r(i if f\ v- AT^'^^
Kcjr
The Exacting Art of Caricature
(Continued from page 38)
ideas are not so penetrating. Of all the newer Germans, however, Arnold shows the greatest power, the most telling analysis, and the most finished technique. Few modern caricaturists have probed so deeply into character, or stated their findings with such poignant and ruthless accuracy.
Associated with the German school of real- istic pictorial portraiture is the Scandinavian Gulbranssen, who for sheer technical finish, solidity of effect, and mordant characterization, has no superiors and few, if any, peers. His satirical portraits are perfect examples of true caricature — simple, yet masterly in statement, and conceived with a brilliant clarity of vision. He surpasses all his countrymen, from Tegner and Jiirgensen to Schmidt and Kittelesen ; and, indeed, marks the height to which modern caricature has attained.
The French and English Schools
None of the more recent Frenchmen have approached the genius of Forain and Lautrec. Sem, however, has done many fine and search- ing caricatures ; and among the younger men "Mich" also may be mentioned as characteristic of the spirit of pictorial irony in France today.
In England caricature has not entirely freed itself from literature and document. Beer- bohm ("Max") is an excellent example of this retarded development. The most popular and, in many respects, the best of England's cari- caturists, he constantly depends on ideas for his effects. He is superficial in analysis; and his technique, compared with that of Thony, Arnold and Gulbranssen, is almost amateurish. But his whimsical wit and his droll imagination often save an inherently banal and poorly ex- ecuted picture from complete disinterest. Simpson is without "Max's" whimsicality and literary appeal ; and while his technique — com- posed of simple free lines in the Busch tradi- tion— is adequate to its purpose, his exaggera- tion and distortion of featural characteristics are not of a sufficiently penetrating nature to lift him very far above the level of "clever cartoonist." "Spy" (Leslie Ward), another English caricaturist, suffers from this same deficiency in critical observation. He is, in fact, merely a more genial and tolerant "Ape."
Spain,. Italy and the other Latin countries supply a more sympathetic milieu than Eng- land and America for the development of cari- cature. The imagination is less restricted ; sentimental ethics are less dominant ; and origi- nality has a freer rein. We find, therefore, many interesting graphic talents in these na- tions.
Caricature in the Latin Countries
Tovar represents the best in Spanish cari- cature, and occasionally achieves an effective and impelling work. In Buenos Ayres, Sirio — influenced by the Germans of the "wood-cut school" — and Alvarez, a portraitist of featural exaggerations, lead the field ; and in Cuba, Mas- saguer, tho constantly varying his technique, has achieved a noteworthy proficiency.
Mexico has given birth to numerous cari- caturists ; and several competent craftsmen have been developed. De Zayas has insight and a markedly pronounced artistic scnsibilite ; and Cabral has carried distortion to an unusual extreme without sacrificing the inner truth. Italy, likewise, has produced many caricaturists t>f varying personalities and techniques, and in Tirelli possesses a master of the grotesque and monstrous. His war series — '■'/ Protagonisti" — ranks high in its particular field.
In the United States there are a few men in whom the spirit of caricature has taken lodg- ment. We are too young to have produced so mature and refined an art. Our cultural stand- ards are not yet sufficiently fixed ; and the tra- ditions of institutionalism have not yet become assimilated. However, we have already evolved several individualistic craftsmen, altho in none of them are there more than faint indications of the true instinct for caricature. Only Alfred (Continued on page 73)
Page Sixty-Eight
SUADOWLAND
From Moscow Cellar to New York Roof
(Continued from page 29)
being made a target for the shafts of wit of Balieff and his irreverent colleagues. In those days Nikita did not wear a faultlessly fitting dress suit and well-laundered linen. Jackets, blouses and loose flowing ties, or no ties at all, were de rigueur, and better dressed mem- bers of the audience provoked impolite com- ment. But most of the visitors grinned and bore it ; and the less thin-skinned even liked it, and would sometimes retort with vigor and point.
Today, or rather tonight, the Chauve-Souris has emerged from its cellar and is perched on the top of a high roof of a beautiful building occupying one of the most commanding sites in New York, overlooking the park on one side and on the other the busiest and brightest part of the city. Balieff, as bland if not so biting as of yore, his Rabelaisian tendency carefully controlled, wears a beautiful dress suit and spotless white shirt and vest. He is described in the program as "Director and Stage Autocrat," for of course anything Rus- sian must have its autocrat, and ever and anon he emerges from behind the curtains and con- verses with a delighted audience in an extra- ordinary jargon, and the more he contorts his phrases and distorts his words, the better every- body likes him ; so why, it may be asked, should he seek to improve his English as the foreign resident is usually exhorted to do?
The Secret of the Charm
People go to the new show of the Chauve- Souris as they went to that which preceded it, largely to see and hear Balieff, to delight in his quaint, convoluted, monosyllabic speeches, and to watch that wonderful smile as it gradu- ally spreads and illuminates the whole of his spacious countenance. As for the new enter- tainment, it has the true Russian spirit of naivete. Episodes of boisterous humor and rollicking drollery are varied by others of quiet simplicity and beauty, with the occasional and inevitable undercurrent of sadness and tragedy.
Delightfully tinkling strains by no less a composer than Liadoff accompany a musical snuff-box episode, in which the characters are marionettes, A group of Black Hussars ( "There-are-no-black-sol-diers-today," remarks Balieff, "they-are-all-red" — the last word al- most shouted) sing the sonorous and gay regi- mental songs of the past ("They-do-not-sing- any-more; they 'oivl!" — another shout from Nikita). The soldiers are sitting in the dark shadows of a cellar against an arched window, with a strong blueish light outside — a finely composed picture by Remisoff, who is respon- sible for the entire decors, which is finely imaginative as well as humorous when needs be.
A New Program
The famous Wooden Soldiers have been kept in the new program, and march and coun- ter march with unfaltering rigidity and an ex- quisitely bland vacuity. Spanish students sing an absurd mock serenade to the single word "Pepita," until an irate parent appears on the balcony and threatens them with a drenching. "Copenhagen Porceleine" takes the place of the Dresden or Willow Pattern plate with charming effect, and musically the episode is exquisite. There are broad Russian farces like "Moscow Fiances" and "The Three Hunts- men," and half a dozen other numbers, in- cluding, by request, the adorable but squawky Katinka," and before one realizes it between two and three hours of unalloyed enjoyment have slipped by.
Russia's gifts to the world are great and numerous, especially in the forms of literature, music and art, and perhaps can never be ade- quately repaid, altho America is doing some- thing in that direction by feeding her starving people. She has added to our obligations by sending us the Chauve-Souris, and it is hoped that they will long remain to show American audiences how simplicity and rollicking drollery can be combined with the finest art.
The Wonderful Thing
IN LIFE IS
WOMAN'S SECRET CHARM
What Is It? How Can It Be Acquired? Are You Lonely?
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Page Sixty-Nine
SuAPQWLAND
The time will
come when you will
be sorry you have freckles
It may be at a party, a wedding, or with a man — when all eyes are turned on -you and your, beauty receives attention and admiration.
And Oh, how' you will wish for a normal, flower- like skin!
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Dada and the Dadas
(Continued from page 43)
including the whilom Expressionism, Futurism, and Cubism, as so many narrow academies im- prisoning individual liberty inside the confines of this or that theory. Fancy a Cubist being dubbed an Academician ! Picture the ogres of the immediate past turned into mild, inof- fensive conservatives of the present ! There has been nothing more delicious during my sojourn in the French capital than encounters with sun- dry of the established Cubists. They hold the Dadas in horror, deride them, vilify them as charlatans, mountebanks, monstrosities. And only a few years ago, the Cubists were them- selves treated to such epithets by an outraged society. Tomorrow, the Dadas will be termed, old-fashioned. In fact, many people are al- ready bored with their antics, most of which have become painfully familiar. Such is Paris.
The antics take the form of outlandish maga- zines and barbarous public exhibitions, to the accompaniment very often of jazz music of a vintage several years old, imported from America. The exhibitions are introduced by strenuous manifestos, street parades, stump speeches and newspaper controversies. Riots are not infrequent. A typical manifesto fol- lows : "Dada raises all. Dada knows all. Dada spits on all. But Dada never speaks to you of Italy, of accordeons, of ladies' panta- lettes, of one's country, of sardines, of Fiume, of art (you exaggerate, my friend), of sweet- ness, of D'Annunzio, what a horror, of hero- ism, of mustaches, of luxury, of the ideal (it is lovely), of Massachusetts, of the past, of perfumes, of salads, of genius, genius, genius, of the eight-hour day. Never, never, never. Dada does not speak. Dada has no fixed idea. Dada doesn't catch flies. Futurism is dead. Of what? Of Dada. A young girl committed suicide. Of what cause? Of Dada." And so on.
Tristan Tzara is against holding opinions. "I wrote that manifesto to show that you can perform two opposing acts together, in one sole respiration ; I am against action ; for continual contradiction, for affirmation also I am neither for nor against and I do not explain, for I hate good sense." In other words, all things are equal, there is no high or low, good or bad. Tzara is the philosopher of Dada. Some of the leading poets are Andre Breton, Paul Eluard, Francis Picabia, Phillipe Soupault, Louis Ara- gen, Paul Morand. Of them all, Picabia ex- cells in gossip, vituperation and satire. Sou- pault is very fond of jingles. They dont begin to compare with the exquisite nonsense of that supreme adept in tom-foolery, Lewis Carroll,
who can out-dada any Dada and still leave more sense behind him than most prize logi- cians. It was safe for Carroll to have two plus two come to five, because he had already mas- tered mathematics and could afford to try precipices of theory and tight-ropes of con- clusion and yet land on the other side of the chasm and gravely return to terra firma. But there never was and never will be another Car- roll. No Dada and no amount of Dadaism can match the adventures of Alice. Carroll's ncn- sense is a product of exuberance, Soupault's and the other Dadas' a tell-tale of disgust, weariness, and a desire to annihilate the world along with the late war. Thus writes Soupault :
Philippe Soupault on his bed — born on Monday, baptized Tuesday, married Wednesday, sick on Thursday, agonized Friday, dead on Saturday, interred Sunday — this is the life of Philippe Soupault.
Paul Morand seems to have the richest poetic endowment and approximates a closer standard of making his contradictions intelligible than the other Dadas. The leading painters and sculptors are G. Ribemont-Dessaignes, Francis Picabia, Max Ernst, Marcel Duchamp, Jean Crotti, and H. Arp. Arp's portrait of Tzara, appended herewith, has enjoyed numerous re- productions thruout Europe. Likewise Ribe- mont-Dessaignes' sculpture-portrait of a ball of twine, a twig and a sponge. A Dada ex- hibition is usually crammed with such humbugs, along with the throngs who come to admire or pooh-pooh them, according to one's tem- perament.
Just what will become of Dada and the Dada- ists nobody is as yet daring enough to prophesy. M. J. E. Blanche, himself a Dada, declares that "Dada will only continue to exist by ceasing to be." If you can elucidate this puzzle, you may reach a conclusion about Dada. Then again, it may be still better not to reach a conclusion. If Dada, with or without theory, can give birth to a man or two of the first rank — like the Cubism, Expressionism and Futurism it seeks to destroy — Dada will have justified it- self. If it doesn't succeed in this, the world will be well off anyhow in having been enter- tained at a time when it was more sorely in need of distraction than at any other time in historv. If the world ever recovers from its recent wound, such fellows as the Dadas have provided a little of the medicine : laughter as good as any other. For this may the gods re- member them.
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Paul Swan, Artist
(Continued from page 23)
PARTING
So thus have you passed upon your destined way,
You whom I loved ! Your going imaged not the parting I had dreamed —
There were no tears ! For you, a glad release, For me, a vague and sullen dumbness ; And I had rehearsed so often to call you back, Knowing not till now the voicelessness of love!
Despite the man's versatility, Paul Swan will always be known chiefly as a classic dancer, and back to this subject the conver- sation veered. Swan said, "People are forever trying to find the meaning of my different dances. That's rather absurd and unneces- sary. I wish they'd try to enjoy them just for their beauty."
Dr. Rieder has said of Paul Swan's dancing: "It springs from a wealth of artistic experi-
ence. Its appeal therefore is of the very high- est order ; and it is not sensational or sensual, but largely intellectual. To appreciate him fully, requires a fine sense of beauty and a cul- tured mind."
Paul Swan's productivity and industry are rather overwhelming. Busy as he is with por- trait commissions, he finds time to rehearse strenuously for a series of dance matinees that he will soon give at the Theatre Fcmina in Paris. He also finds time to design his own costumes and settings.
We were very much impressed by Swan's keen sense of humor. He delighted in jesting and bantering about the curious, sensational stories that had been circulated. He said the most acceptable tribute that had ever been paid him was that of Zoe Akins, the playwright. She wrote: "Nothing that Paul Swan himself will ever do, will be more interesting than what he himself is now."
Page Seventy
^UAUQWkAND
John Costigan Carries the Flame
(Continued from page 11)
proficiency docs not make him academic. There is a solid, downright honesty in Costigan which saves him from the pitfalls of virtuosity. This honesty shows in everything he does.
Costigan derives mainly from the Impression- ist tradition, which has given so much vitality to painting in our day, particularly to the paint- ing of landscape. He is concerned a good deal with the handling of light and atmosphere, but this concern of his does not lead him to forget that there is such a thing as solidity. Within the shimmering mysteries of light and atmos- phere that envelope his pictures we feel the planes and dimensions of a solid, honest earth. It is an earth for walking and working on, as well as an earth to look at. His pictures are full of the gravity and depth of forms bend- ing and projecting thru three dimensions.
A Fine Feeling for Dimensions
"I dont like a landscape unless I feel that I can walk into it," says Costigan. His painting, "Last Part of Winter," reproduced at the be- ginning of this article, might be called a plastic demonstration of that statement. "Girl With Sheep" illustrates his concern with atmospheric effect, but in it, too, there is the same feeling for gravity and dimensionality. There is a fine treatment of the girl's figure beneath the re- vealing folds of dress in this painting. This interesting use of the human figure, and of animals, appears in many of Costigan's can- vases.. Among them one may mention "April," a man among a flock of sheep in the trees against the sweep of a hill, the mottled April sunlight saturating woods and hillside ; "In the Autumn Woods," a figure bathed in the sub- dued ruddy glow of the woods in autumn.
In his landscapes the passage of light among the tree trunks and over the undulating earth increases the feeling of solidity and movement. Costigan studies the milieu, the surroundings and envelopments of his forms, but he never forgets form for its mere surroundings. In a picture like "Last Part of Winter," he makes us feel the depth of the woods, the strong life of the trees, the ever-renewed vital- ity of the earth breaking out of the grip of winter. One feels that he loves nature. That she is for him a renewer of sympathies, a never- failing source of inspiration.
A Nature Lover
This love of nature, with Costigan, is a very real thing. It is not simply that he finds her paintable, a pleasant model for an afternoon's sketching. Nature to him is more than model : she is the companion, the sustainer, the source of life and beauty. Looking at Costigan's paintings, one is not at all surprised to know that he lives on the land. He has a farm near Orangeburg, N. Y., where he stays all the year 'round, painting and looking after his sheep, cows, goats and chickens. Among these creatures of the earth, he finds plenty of mate- rial for his art.
Costigan's work was first exhibited at the MacDowell Club in 1915. Since that time it has been shown at the Corcoran Gallery in Wash- ington, in the exhibitions of 1916, 1919 and 1921, and at a number of Academy shows. At the Academy show in Brooklyn, in 1920, he won the third Hallgarten prize, and in the same year he took the water-color prize at the Salmagundi Club. His painting shown at the 1921 exhibition in the Corcoran Gallery was sold to the Duncan Phillips Memorial Collec- tion, in Washington. Costigan's work is soon to be seen, I believe, in a one-man show in one of the New York galleries.
Costigan's painting is winning its way among the critically minded lovers of American art. For a man in his middle thirties, he has already won a large measure of appreciation. It is, of course, impossible to predict what the future will bring to a painter as to any other mortal. But it is not too rash to predict that Costigan will go far if he lives up to the promise and the fulfilment of his early work.
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Page Seventy-One
SuADOWLAND
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A Threshold of the Long Ago is Bath
{Continued from page 54)
of old Bath he espied a gentleman who had insisted upon wearing his top-boots to the ball. Nash went over to him. He did not encourage innovations. He extinguished the guest be- fore the entire assemblage by asking him why he had omitted to bring in his horse.
Yet cities, like republics, are ungrateful things. And Nash, who for years had been the companion of royalty and the adored of all women, became infirm. He lost his high authority. Others came to replace him — after a fashion he was quickly forgotten. He died in poverty in a mean house of a mean street of old Bath . . . That brought him to atten- tion again. The Corporation of Bath gave him a grand funeral. It erected a statue to his distinguished memory in the Pump Room. And finally elevated his tomb to a place among those of the princes in Bath Abbey, with this single significant line upon his monument :
"Bathoniae elegantiae arbiter."
A Gothic Church that Satisfies
Great as is the Pump Room, Bath Abbey, which stands cheek by jowl with it, is far greater still. Its high tower we have seen dominating the first views of the city that one gets from the railway train. That tower, it- self, arouses no high praises in the minds of the modern Bathonians. They are inclined to think that without the high spire of the new Roman Catholic church hard by, it would not give the proper emphasis to the skyline. With this view, I disagree. Bath Abbey, to me, is one of the most completely satisfactory churches that ever I have seen. In some ways it is like a handsome woman, whose features individually will not analyze satisfactorily, yet taken together produce an ensemble tre- mendously alluring.
So it is with Bath Abbey. Taken individu- ally, its architectural features are not alluring. Frequently, they are not even good. The main western facade with its double rows of angels climbing heavenward on Jacob's Ladders ex- cites one risibilities. They are fearfully fat little angels, who with four hundred years of steady climbing (but no arriving) ought to be as thin as athletes. Moreover, time has not dealt gently with these children. It takes a deal of imagination to see them as a real con- tribution to the artistic treasures of Great Britain.
Yet, do not make fun of Bath Abbey. Other- wise you shall have to eat your words once you have gone within the venerable edifice. There, surprise awaits you. One of the light- est, one of the most delicate, one of the most completely satisfactory Gothic churches that ever you have visited. This is bound to be your verdict. It is the verdict of generations. A church which in its details is generally un- satisfactory, in the mass is a rare triumph of light and beauty. They call it "the lantern of England," and well they may.
Analyzing the Quaint Charm
To me, however, the Bath that calls with irresistible appeal is the Bath of the open, the Bath of the high-reaching downs and of the lovely streets lined with lovelier houses, of the town itself. When I walk those streets, I realize that never again can there be in all this world a town quite like this. Modern con- ditions, chief amongst them the swift develop- ment of modern urban transport, will never again give us a strictly resort town of rows on rows of tightly built city houses. Even Bath is beginning to turn her head upon her own magnificence. There are too many house- agents signs upon these old houses. If you will closely observe, you will find that many
of them are vacant, and have so been this long while. Dust gathers in their great rooms. The fireplaces upon which I should like to write a book have been cold these many years, the lovely ceilings are faded and broken. The houses are, far too many of them, deserted. Modern Bath, which does her best to hold her population at about an even fifty thousand folk, is building its new houses detached and in fine lawns upon the hilltops.
Yet old Bath does her best to conceal her scars, her visible hurts of time. She has an old maid's cunning in the thing. And an old maid's family pride in the brass plates upon the frontages of these houses — here Dickens lived, and here Oliver Goldsmith, and here Horace Walpole ; here Sheridan, the drama- tist ; and Rauzzini, the musician ; John Wood, the architect; and Sir William Herschel, the astronomer. In fact, it was at his house at 19 New King Street, Bath, that Herschel dis- covered Uranus . . . The names multiply : Sir Thomas Lawrence, Gainsborough, Words- worth, Richardson, Macaulay, Southey, Louis Napoleon, Queen Charlotte, George IV — the list runs to a great length. You ought to know your English history well when you go to Bath. Then and only then can you really walk its streets with the great figures of the long ago.
A Literary Background Desirable
And you ought to know English literature as well. Certainly, your Dickens. For what is Bath without its suggestions of Mr. Pick- wick and every turn and corner ; at the White Hart (as I have said on the precise site of the Grand Pump Room Hotel) we can see him again being welcomed by Angelo Cyrus Ban- tam, Esqre, M. C. Here it was that Sam Weller performed, whilst an old gentleman sitting in the Institution Gardens but last year offered to show me the very house where the estimable Mr. Weller was entertained at "a friendly swarry, consisting of a boiled leg of mutton with the usual trimmings," by the most dignified flunkey, Mr. John Smaucker and "a select company of Bath footmen." The little old gentleman averred it as his humble opinion that the old town once had held flunkey's clubs. But upon being pressed in the matter changed the talk to the marital possibilities of the Prince of Wales — a most perplexing matter to the English.
If time but permitted, I should take you out into the lovely vicinage of Bath ; to the nice old cathedral city of Wells, if you would but give me the opportunity, certainly to Castle Coombe and Farleigh Castle. But I should never let you leave Bath without ascending at least to Camden Crescent. A _ steep climb, but very much worth while. It is up there that one goes to see the day die ; the sun goes slowly down over the western hills that send their half -day shadows down upon the Somerset Avon — slowing wending — its way to Bristol and the sea. At autumn this view is at its best. Preferably in a sharp October day when a lifeless, breathless air sends the thin grey smoke straight upwards from the many chim- ney-pots of the town . . . The smoke settles into grey haze. The narrow streets and the irregular rows of roof-tops lose their "defini- tion. Only the spires, the square tower of Bath Abbey, and the silhouetted rims of those western hills remain definite and outlined. Bath is falling to sleep. Never those twin- kling lights that modernity has set into her streets and houses . . . Bath is falling to sleep. She loves sleep, this dear old lady . . . Other towns, and newer and far less lovelier ones, may prate of progress . . . Bath slum- bers in her memories.
Page Seventy-Two
SUAUOWLAND
Call the Play -Doctor
(Continued from page 35)
Mr. Cohan took the ten characters of the play and constructed an entirely new story. It was then a hit.
It would appear that even most adroit dram- atists and those thoroly acquainted with the theater, find it necessary to remodel either be- fore or during production. It may be stated, then, that the dramatist who refuses to have any rewriting of his plays is one who has small acquaintance with the theater. Dion Boucicault not only rewrote old plays, but, I am credibly informed, was in the habit, during rehearsals, of rewriting scenes after the cus- tom of Mr. Fitch, Mr. Belasco, and Mr. Cohan.
It is generally understood that to get Augustus Thomas to change a line would be about the same as to ask him to lop off his right arm. However, on the first night of "The Earl of Pawtucket" in London, John Harwood, who played the part of Wilkins, the valet, put in a gag unbeknown to Mr. Thomas. After the laughter had died down, the actor became alarmed, knowing the author was in front ; but Mr. Thomas came around after the show and said : "Harwood, I did not know until tonight that Wilkins was such a good part. I like that gag you put in. Put it in again tomorrow night and we will use it as the tag of the play." The line, strange as it may seem, was "It is raining." At that time people had to be rather careful with Augustus Thomas, as he carried something that looked like a malacca cane, but which was in reality a sokd bar of steel. Young Harwood feared the malacca cane.
When we come to examine the history of very many highly successful plays, we discover, with few exceptions, that the work of the dramatist is aided enormously by an expert producer, or "Play-Doctor," during rehearsals. Another point may be considered : a great num- ber of plays which were failures when first pro- duced, were rewritten and succeeded after their weak points had been discovered during perfor- mances. "Shore Acres," for example, was first presented under the name of "The Hawthornes," touched up by Mr. Heme and produced under "Shoreacres Subdivision," and finally retouched and reproduced under the title "Shore Acres." "Hearts of Oak" was a failure under the name of "The Mariner's Compass" and, rewritten, was a success under the name "Hearts of Oak." The late A. M. Palmer produced success after success and he stated that these successes were due in great part to the fact that these plays were submitted to drastic revision either by Alfred R. Cazauran or Eugene Presbury.
Of plays that failed on try-out productions, and finally patched up by the Play-Doctor, one of the best-known examples was Bronson Howard's "Shenandoah." Mr. Belasco's re- writing, and ultimate great success of this drama, is well known to playgoers. The only successful play of which I ever heard that was played exactly as written — not a syllable changed — was Booth Tarkington's "Clarence." During rehearsals Frederick Stanhope, the pro- ducer, suggested to Mr. Tarkington the trans- position of a certain line. The change was made. It was rehearsed for several days. Came the dress rehearsal, when Mr. Stanhope discovered that he had been mistaken, apolo- gized for the change, and it was then replaced
as written. On the other hand, Mr. Tarking- ton's play, "The Country Cousin," was pro- duced five times, and during each interval was rewritten by the author.
After many years around the theater I can state, truthfully, that I have never seen a play produced which was a success that wasn't given what might be called a drastic overhauling, either before or during production. I have seen many plays brought to success which owed that success, in great part, to scenes which were in- troduced either at rehearsals or while it was being presented out-of-town.
Only lately I saw a play at Atlantic City. I asked the producer the next day how he had permitted certain things to happen in the play — things which were inimical to its success. He told me that the dramatist hed had these vari- ous blotches pointed out, but had refused to al- low any changes to be made at rehearsal. Now, that the play was produced, this author was most contrite and anxious to assist the pro- ducer in making necessary changes. I saw this play in New York some weeks later and was pleased that all the absurdities in the first per- formances had been eliminated.
Many a likely play has gone to the store- house thru the stubbornness of the dramatist who refused to have his manuscript tampered with.
Those of the theater Know very well that what is really in a play cannot be discovered in the reading. Often a play which seems a good sound piece of workmanship, is put in rehearsal and once in the hands of actors, it is found that it simply wont act. Without the actors — nobody can tell ! The action and reaction, one charac- ter against the other, reveals the weakness which the Play-Doctor must mend. Then, too, many plays intended as straight drama, but owing to the audiences discovering the ludicrous in them, have been played as farce. Some of these, of recent years were : "Officer 666," "The Bad Man," "Bulldog Drummond," and "The Manoeuvers of Jane." Let us take as examples two musical pieces in town to-day, which are hits. Both of these were presented out-of-town, and both seemed hopeless. One of them was put in the hospital and underwent a major operation. The other enjoyed having two clever actors in the cast. One elaborated his part with considerable skill, while the other wrote in two important scenes. When the play was produced these two scenes were the high-lights of the piece. But every musical piece cannot have a Charles Judels.
In recent years the Play-Doctor, or producer, has come to appreciate his importance to such an extent that he is able to exact a percentage of the profits, or a part of the author's royal- ties. Indeed, there are several specialists who will not undertake to produce a play under any other conditions. Outside of Mr. Belasco and Mr. Cohan, the best-known specialists of the time are : Sam Forrest, Frederick Stanhope, Max Marcin, John Harwood, Robert Milton, William Post, Roi Cooper McGrue, Oscar Eagle, Hugh Ford and Walter Hackett. The tales these men could tell !
There is, of course, another side to the pic- ture. Owen Davis lately said : "Some plays are born rotten, others have rottenness thrust upon them."
ll MlilMiiiiuiiij in mimiimmii Minimi urn mm immimmmmij
The Exacting Art of Caricature
(Continued from page 68)
Frueh and Ralph Barton have actually achieved any degree of proficiency in this field.
Frueh is European in manner, and at times achieves striking critical likenesses with a few strokes of the pen — likenesses in which the persons limned are revealed as embodiments of individual character. Frueh's very cleverness, however, tends to defeat his aim. His amazing adroitness far outstrips his analytic penetra- tion ; and the attractiveness of his technique — his fascinating surface brilliancy— focuses at- tention on the externals of his subject, and de- tracts from a more leisurely contemplation of
inner qualities. All this is opposed to the animating spirit of the best caricature.
Barton, on the other hand, excels in his in- tellectual qualities more than in his technique. One is attracted by his cultural attributes rather than his manual dexterity. As yet his technique is tentalive — he is still searching for a personal means of pictorial speech. But even now he has succeeded in many instances in making his critical intelligence more or less articulate. All in all, he bears a closer re- lationship to the European masters of cari- cature than any of his compatriots.
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Attention to the condition of your breath ought to be as systematic a part of your daily toilet routine as the washing of your face and hands. Yet how many, many men and women neg- lect this most important precaution !
The reason is a perfectly natural one. Halitosis (or unpleasant breath, as the scientific term has it) is an in- sidious thing you may be troubled with and still be entirely ignorant of.
Your mirror can't tell you. Usually you can't tell it yourself. And the subject is too delicate for your friends — maybe even your wife or husband — to care to mention to you. So you may unconsciously offend your friends and those you come in inti- mate contact with day by day.
Halitosis (unpleasant breath) is usually temporary, due to some local condition. Smoking often causes it, the finest cigar becoming the offender even hours after it has brought the smoker pleasure. Again, halitosis may be chronic, due to some or- ganic disorder which a doctor or dentist should diagnose and correct.
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Page Seventy-Three
SLlADOWLAND
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MAGAZINE
OCTOBER
We announce for the October Mo- tion Picture Magazine:
"That Indescribable Something," by Frederick Van Vranken. Mr.
Van Vranken takes several feminine stars and analyzes their particular per- sonalities and — at the same time — their stardom.
Dick Barthelmess is a figure of con- siderable interest. He is building his career surely. Adele Whitely Fletcher interviewed him and found him the sane and normal youth — the youth with dreams and ideals. It is a fascinating story.
Then there are colorful impressions, penned by Doris Kenyon. They are delightful things, descriptive of a num- ber of screen celebrities. And they are endowed with the same charm which en- hances Miss Kenyon's work on the stage and on the screen and which has brought recognition to her books of verse.
All in all, the October Motion Pic- ture Magazine is beautiful and inter- esting— just the thing for the cool autumn evenings.
THE OCTOBER
M0TI0N.&ICTV&L
MAGAZINE
When Doctors Disagree
{Continued from page 33)
Middleton Murry, dean of English critics, who gave a forthright appraisement, tho he let the cat out of the bag by saying that he understood only "four-fifths" of the contents. Almost unwittingly he referred to Joyce as a "half -demented genius," and later regretted it. After meeting the author in Paris, he ex- pressed his regret, and declared that he would have to write a book about "Ulysses" to do it common justice.
Arnold Bennett was restrainedly panegyric, greeted the book as the work of a high order of genius and as a literary landmark. He was constrained to mention, however, that he was not in a position to devote the rest of his life to a discovery of what "Ulysses" was all about.
A Parody Done in the Grand Manner
What is "Ulysses" about? and what sort of fellow is the author ? are two questions that are pressing hard for answers.
I was told by Mr. Joyce that the most satis- factory answer to the first question has been given by a Frenchman. Valery Larbaud, whose private lecture on "Ulysses" prior to its pub- lication appeared in the Nouvelle Revue Francaise, the best of the French literary reviews. M. Larbaud is the translator of the works of Samuel Butler, and has, for a for- eigner, an uncanny understanding and apprecia- tion of English literature. His lecture serves as an admirable and almost necessary preface to the book it treats.
As to the second question, every man will have to find his own answer. If you can read "Ulysses" intelligently, you will probably know as well as anyone what kind of a man is Joyce : for therein he has inscribed his heart and mind and soul.
To read "Ulysses" intelligently you will have to refresh your memory with the ad- ventures of the great Greek hero, after whom the book is named. The key to the mystery is to be found, indeed, in Homer's "Odyssey," of which "Ulysses" is a parody done in the grand manner.
The general scheme of the "Odyssey," or rather the author's idea of that scheme, is closely followed. The first three chapters in "Ulysses" correspond to the first five songs of the "Odyssey." Stephen Dedalus is the pro- totype of Talemachus. You will recognize him as the hero in "The Artist as a Young Man," with which Joyce won a place in the literary firmament. In the next eight songs of the "Odyssey," Joyce finds twelve distinct episodes, narrating the adventures of Ulysses. So that in the fourth to the twelfth chapter, inclusive, of "Ulysses" you make the acquaint- ance of one Leopold Bloom, the spiritual de- scendant of Homer's hero. The last songs of the "Odyssey" tell of the return of Ulysses to Ithaca and Penelope, and find their counter- part in the last three chapters of "Ulysses," de- scribing the return of Bloom to his wife, Molly.
Dublin is the Setting
The scene is laid in Dublin. The action takes place in less than twenty-four hours — to be precise, between eight o'clock of one morning and three o'clock of the next.
You follow Bloom as he gets out of bed; you accompany him from the bed-chamber, where he has just left his wife, to the kitchen, to the antichamber, then to the butcher, to a funeral, the editorial rooms of a newspaper, a restaurant, public library, the bar of a hotel, a bathing beach, a maternity hospital, the "red light" district of Dublin, where he remains just a trifle too long. The last chapter is de- voted to a transcription in unpunctuated prose of an interior soliloquy by Bloom's wife. Noth- ing is left unrecorded of the lives of these Dubliners. The round unvarnished tale is told with an overwhelming wealth of detail.
But "Ulysses" is not merely a chronicle. In- terwoven into the action are veritable essays on philosophy, theology, literary criticism, politics and history. The latest scientific the-
ories are discussed. The interludes and digres- sions are all of a piece with the action, and the comedy in eighteen episodes is a complete, carefully organized unit.
When you perceive the artistic unity of the book, all sorts of analogies and correspondences suggest themselves, and back of the brilliant melange of words and deeds, profound obser- vations, inconsequential drolleries and splendid images, you begin to realize there is a design far more complicated than you at first thought.
Each episode, indeed, has its esoteric sig- nificance, its particular symbol, representing an organ of the human" body, and is composed in a distinct style. Let us take an example : epi- sode four of the adventures of Bloom. Its unwritten title in Aeolus. The scene is laid in the editorial rooms of a newspaper. The organ to which it corresponds is the lungs. The art of which it treats is rhetoric. Its color is red. The symbolic figure is the editor. Journalism is compared to incest. (Upton Sin- clair take note.)
This plan Joyce has designed for himself, not for the reader. There is no preface, no chapter heading or subhead to reveal it. It was this omission of any clue to the cunningly concealed plan of the book that so irked Arnold Bennett that he said Mr. Joyce had overstepped the bounds of courtesy to his read- ers. But courtesy is a relative thing after all, and to a lettered person much of the charm of the book would be lost by aids to the under- standing. There is a fascination in solving mysteries.
Scholars have variously interpreted the char- acter of Homer's hero, whom Joyce has at- tempted to modernize, so to speak, in the per- son of Bloom. We know that he is a very human man. He loves his country, his mother and father, his wife, his son and his friends. When confronted by the sufferings of others, he is sympathetic and benevolent. But linked with his virtues are also human weaknesses. This is likewise true of Leopold Bloom. He is afraid of death. He dallies too long on Circe's isle, as Bloom does at the brothel. In brief, Bloom is entirely human, no better and no worse than most of us. And the conditions of existence in the ancient world where Ulysses has his being are found to be negligibly differ- ent from those in modern Dublin.
About the Author
And now a few words concerning the author himself.
I first met Joyce in the cosy book shop of his publisher, Miss Sylvia Beach, an American, on the rue de l'Odeon, Paris. (Let it be said that the book is a monument to her enterprise and courage : for in view of its erstwhile sup- pression in the "Little Review" the chance of its success was not great, and the outlay was heavy. Joyce and his book have met the same fate accorded Baudelaire, Flaubert and Whit- man.)
James Joyce was born in 1882 at Dublin. He comes of an old family, originating from the south and west of Ireland — that Ireland, which has its affinities with Spain, France and Italy, and to which England is a foreign coun- try, notwithstanding the bond of a common language.
He was a pupil of the Jesuit Fathers, and was given a solid training in the classics. He expresses no opinion either way in regard to the Jesuits, tho he has told me that from the point of view of his intellectual development he owes them much.
His studies of the humanities concluded, Joyce devoted himself to the pursuit of medi- cine, first at the University of Dublin, later in Paris. At the same time he studied music and philosophy — scholastic and Greek — for his own pleasure and without any view to a career. Returning to Ireland, he married, soon expatri- ated himself, and lived at Zurich, Trieste and Rome, getting a livelihood by teaching. Mean- while, he continued his philosophical and mathematical pursuits. Altogether he spent fourteen years in Italy, and it was in Italy
Page Seventy-Four
that his two children were born. They speak Italian as their native tongue.
As an Irishman, Joyce took no effective part in the war. He feels little or no con- cern for Ireland's internal conflicts.
"I dont give a d n what they do there,"
he said recently, after his wife and children had left Paris for Dublin. "My only con- cern is for the safety of my family." He was worried to the point of despair that something might happen to them. His fears were not groundless : for in a few days he received a cable, saying that the train in which they were riding to Galway was bombed and they were forced to return to London.
So Irish That the Irish Hate Him
Joyce is disowned equally by the Nationalists and Unionists. He fights no cause, belongs to no faction, and in his remarks on the political situation in Ireland maintains an impartial at- titude, looking at conditions from the point of view of a historian ; and, while he is never per- sonally involved with the interests of his coun- try, he is, as James Huneker once said of him, so Irish that the Irish hate him.
However, his books cannot help but enlarge the respect of the intellectuals of all nations for Ireland. What Ibsen was to Norway, what Strindberg was to Sweden, what Nietz- sche was to Germany, what Romain Rolland is to France, James Joyce is to Ireland. With the publication of "Ulysses," Ireland has made her entry into the great community of Eur- opean letters.
In personal manner reserved and reticent, Joyce impressed me on first view as being what the French call difficult. On the occasion of further meetings, however, I learned that he is the most affable of men. He is shy of curi- osity-mongers. Devoid of pose or affectation of any kind, he knows his own worth, which he does not prize too highly ; and he is irri- tated by those who show a deferential attitude in his presence.
Social rencontres and tea fights he religiously stays away from. He would far rather spend his time battling with the "devils of syntax and epithet." To all the literary or social elite he prefers for company a club-footed gargon, with whom I have sometimes seen him.
He is always thinking, always observing.
"See if you can describe that woman's smile," he said to me one day over a cup of Bordeaux blanc in a cafe, where was seated an old woman, whose wrinkles and rouged nose were the ensigns of decrepitude and in- temperance. Her smile over a jest made by the gargon was an accomplishment which did not escape the prehensile eye of Joyce.
Joyce knows little or nothing of modern literary currents.
"It embarrasses me dreadfully when people ask me if I have read so-and-so just out," he said. "I have read virtually nothing for the past seven years." Recently he ordered a copy of the "Arabian Nights' Entertainment."
In his nature there is a decided Greek strain.
His extreme individualism is Greek, his non- moral attitude toward life is Greek, and the practice of his art in its purity and perfection is Greek. He has told me that of the Greeks Aristotle is his favorite, being the most mod- ern. "Read Aristotle," he said, "then apply his reflections to the common daily life about you here, and see how pat they are."
There is too much hazy metaphysics in Plato. Homer, of course, he has read from boyhood, not for love of the author — Joyce says there is much in the "Odyssey" to prove Butler's contention that it was written by a woman — nor for love of Greek poetry, but primarily for his love of the hero.
When, as a schoolboy, his teacher asked the members of the class to name their favorite hero, and such names as Napoleon, Jesus, Saint Francis of Assisi and the national heroes of Ireland were given by his classmates, Joyce replied, "Ulysses." The psychogenesis of his great parody dates from this period.
Joyce gives me the impression of being con- tinually deep in dreams. Yet, he can let him- self go at any time, and in play he can go as far as who goes farthest and a little farther. He is a Celt of the Celts, and has that rare combination of seriousness and abandonment. He is a rare bon vivant and loves good wine and good cheer. Paris is Nirvana to his moral nature, for here he can do as he likes with- out interference from the "unco guid." His same disregard for literary conventions mani- fests itself in his daily life. He does what the spirit listeth.
He is always a gentleman in his cups or out. Good manners are a religion with him. It is always the manner, whether in art or in life.
A Staunch Friend
Joyce's urbanity never descends to gregari- ousness. He has but few friends. Those few, however, are staunch. One of them is Adri- enne Monnier, poetess and presiding genius at the Maison des Amis des Livres, a bookshop in Paris, where the foremost of the present generation of French litterateurs do congre- gate. She has just written for private circu- lation a lyric eulogy of Joyce, wherein she celebrates the allegiance certain women have given to Joyce and his art during the course of his life's work.
There is only one thing I would rather do occasionally than to get deep into a cup of Asti : and that is to get deep in that cup in the company of James Joyce and to listen mean- while to his "wild wisdom" and his Irish mother wit. Of the tangled threads of dis- course I dont remember much afterwards ; but I have a residue of impression that seems, somehow, to take the edge off "life's more bitter flavors." That residue is a sweet cynic- ism which confidentially bids defiance to the serious-minded world about me, and enables me to lift my face with a smile on my lips and the tongue in my check to the Master-Dra- matist of this great farce-comedy we call life.
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The Nude in zArt
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From Life
The original way in which Albert Arthur Allen has han- dled life and nature makes Alo Studies a delightful collection to linger over. The models are_ of the highest type of feminine beauty — t y p i c a 1 I y American, and symmetrical for the age in which we live. The natural scenes are fully in keeping.
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Page Seventy-Five
Cup Plates of Olden Times as Collection Objects
(Continued from page 41)
world's theaters just at the moment when we Americans have developed our finest theatrical talent in that direc- tion?
ART
The Etchings of Edward Hopper. Fine examples of the work of a rising exponent of this popular field of art- istic endeavor, with editorial comment by the distinguished artist and critic Guy Pene du Bois.
DECORATION
The House of Fantasy. In
other words, the home of Robert Winthrop Chandler, the man who prefers to decor- ate the interiors of the houses of his friends to being a social decoration himself.
TRAVEL
Peterboro', a Town of Artistic Personality, by Edward Hun- gerford. The author of "The Personality of American Cities" gives us a fascinating pen-picture of the McDowell Colony and the beautiful countryside in which it is sit- uated.
CARICATURE
Wynn Invades Germany.
Shadowland's well-known contributor sends some sketches from the banks of the Rhine that are inimitable.
SUADOWLANP
for OCTOBER
The pottery forms were decorated with printed designs similar to those found on larger plates. Thus American historical subjects, Eng- lish views, Franklin's maxims, Dr. Syntax, Don Quixote, the Willow pattern and a long train of other devices were used.
Cup plates do not seem to have been included in the black printed ware made by Saddler & Green at Liverpool, in the last part of the eighteenth century. But early in the nineteenth century dark blue printing was employed on pottery produced in large quantities at Stafford- shire. Enoch Wood (1759-1840), who is thought by some to have made much of _ the unmarked dark blue ware bearing American devices, designed the well-known "Landing of the Pilgrims," the "Cadmus" series, the "Bat- tery," and others with a border of seashells.
A Variety of Subjects Furnished Inspiration
Clews, who took over the Cobridge works from Stevenson in 1818, made the "States" series, "Landing of Lafayette," and others in blue, beside the "Picturesque Views" of places on the Hudson River, in various colors. Don Quixote's adventures furnished subjects for a dozen or more designs printed by Clews; while the three Tours of Dr. Syntax, after designs by T. Rowlandson, published from 1809 to 1821, are also by Clews. They are among the most sought after by collectors. To the first Tour belongs "Dr. Syntax and the Dairy Maid." The border of flowers and scrolls usually found on the larger plates, is often reduced materially in the cup plates or is again omitted entirely.
The "Beauties of America," by J. & W. Ridgway, had a border of rose-leaf medallions, and views of some of the then famous buildings in Boston, New York and oth;r American cities. These date from 1814 to 1830, and seem to be the only American views made by this firm. Later the brothers dissolved partnership, and various colors and other designs were used.
Joseph Stubbs and Thomas Mayer, of Burs- lem, likewise made cup plates in dark blue. A view of Woodlands, near Philadelphia, is by the former, and the arms of South Carolina, one of a set of eleven, is by the latter.
R S W (Ralph, Stephenson & Williams, of Cobridge) produced some of the best dark blue American views, with oak-leaf and acorn bor- der, and those of the Boston State House by Rogers, are well known. But many of the best landscape and portrait plates bear no dis- tinguishing maker's mark. It is sometimes pos- sible to identify them by the borders used, when they coincide with those on marked pieces, but the center designs were often copied by one factory from another. The borders only seem to have been the exclusive property of the original designer.
Cup plates were much in favor about 1840, and included local souvenirs, like the Bunker Hill Monument, the heads of statesmen, and some were adorned with the political emblems of the 1840 campaign. Among others subjects found on these cup plates are the log cabin, Fort Meigs, President Harrison, the Benjamin Franklin steamboat, eagle and shield, etc.
A Well-Known Series
One of the best-known cup plate series is Hall's "Hampshire Scenery," with borders of various flowers, such as primroses, hepatica, etc., resembling many of the Clews borders. They are of a rich blue color. The "Quadru- peds Series" is another favorite for collectors. Other Staffordshire potters produced cup plates for the American market. In such cases it was of course wise to select American sub- jects. A series that makes a strong appeal, con-
tains, among other things, a view of the first United States Mint, Philadelphia. This has a characteristic border that introduces scrolls, eagles and flowers. It bears the name of Joseph Stubbs.
The lovely dark blue Davenport ware, with designs in the Chinese style, are desirable, and when found are generally exceedingly inter- esting. There is a constantly growing appre- ciation of cup plates as collecting objects among sophisticated collectors. The majority of the glass cup plates were crystalline glass, tho some were colored green, brown, blue, yellow, amber, rose, purple and perhaps other colors. There were many glass factories in this country in Colonial days, as well as later, and these supplied American housekeepers with cup plates, as well as other glass objects. Many of the cup plates of this period were not remarkable for their beauty of design.
Certain cup plates bore mottoes and verses. Those made in Liverpool were among these. A Romance Series, originating in this city, con- tained some lines known as "Returning Hopes," as follows :
When seamen to their homes return,
And meet their wives or sweethearts dear,
Each loving lass with rapture burns, To find her long-lost lover near.
The Willow Pattern Legend
The Willow pattern, used on cup plates as well as on the larger plates, has an interesting legend.
A versified version is as follows :
Two pigeons flying high, Chinese vessel sailing by, Weeping Willow hanging o'er, Bridge with three meu — if not four — Chinese temple, there it stands, Seems to cover all the land ; Apple tree with apples on, A pretty fence to end my song.
A prose version of this legend follows :
A Chinese mandarin had an only daughter, named Li Chi, who fell in love with Chang, a young man who lived in the island home repre- sented at the top of the pattern, and who had been her father's secretary.
One day the father overheard them making vows of love under the orange tree, and he sternly forbade the unequal match ; but the lovers contrived to elope, lay concealed for a while in the gardener's cottage, and thence made their escape in a boat to the island home of the young lover. The enraged mandarin pur- sued them with a whip, and would have beaten them to death had not the gods rewarded their fidelity by changing them into turtle doves, as- shown in the picture.
The design is called the Willow pattern, not only because it is a tale of disastrous love, but because the elopement occurred "when the wil- low begins to shed her leaves." The whole story is set forth in the pattern. To the right is the mandarin's country scat. It is two stories high, to show the rank and wealth of the pos- sessor ; in the foreground is a pavilion, in the background an orange tree, and to the right of the pavilion a peach tree, in full bearing. The estate is enclosed by an elegant wooden fence. At one end of the bridge is the famous willow tree, and at the other is the gardener's cottage, one story high, and so humble that the grounds are wholly uncultivated, the only green thing being a small fir at the back. At the top of the pattern (left-hand side) is an island with a cottage; the grounds are highly culti- vated, and much has been reclaimed from the water. The two birds of the picture are turtle doves. The three figures on the bridge are the mandarin's daughter, with a distaff ; nearest the cottage, the lover with a box, and nearest the willow tree, the mandarin with the whip.
Page Seventy-Six
SuiADQWLAND
Grand Opera Sub Corv sule Giulio
(Continued from page 26)
fraulein out for a spree than a distinguished Roman actress meeting her lover. Her Sieg- linde is good, but her Elsa is only "cosi-cosi," as the Italians say. The best singing and act- ing she achieved was in the unequal and rem- iniscent "Die Tote Stadt."
I repeat, Jeritza's claims to supersede Farrar are far from obvious. Singularly enough, the latter never sang better than she did last sea- son, her acting was more finished, and in "Zaza" she toned down flamboyancies and ex- uberances which were offensive even to her admirers. The farewell demonstrations in her honor should have convinced Gatti-Casazza that he had erred in virtually forcing her out of the Metropolitan, and I believe the fact will be even more obvious next season. Jeritza is, indeed, a poor substitute for Geraldine, and I venture to prophesy that the rage for the former, so artfully fostered by a noisy claque and Teuton propagandists, will be short lived.
Gatti-Casazza is known to be endeavoring to do away with the "star" system. But there will always be great popular figures in opera. It is easy enough to decry the "star" system when there are no Pattis and Carusos around. But whenever a singing actor of commanding powers comes to the front it is inevitable, and the public will continue to demand its favor- ites. It may be wise of Gatti to endeavor to cut the salaries of leading artists when they are excessive. Operatic artists, like the favor- ites of the screen, are worth what they bring as managerial investments, and no more.
The autocrat of the Metropolitan, now that there is to be no opposition from the Chicago Company, is in a position, more or less, to offer his own terms, and to say to an artist "take or leave it." Consequently he has made some severe salary cuts, and has also reduced the number of guaranteed appearances, and in consequence there is much dissatisfaction in the front ranks of the opera corps. This has not been diminished by the impresario's an- nouncement that he is taking on a number of singers, principally Germans, with a view to increasing the Wagnerian repertory, as well as producing a new opera in German and re- viving Strauss's "Rosenkavalier."
Additional resentment has been caused by the reduction of the already unduly scanty French repertory, and that resentment has been increased by the almost forced retire- ment of an admirable French artist, Madame Berat, who rather than sing in German, as requested by Gatti, withdrew from the com- pany. Berat's performance of the old mother in "Louise" was one of the most beautiful things ever done on the boards of the Metro- politan. She will be a great loss to the com- pany, and the cause of her retirement is an offense to good-taste.
But if Gatti-Casazza has not been quite fair to either American or French artists, while he has been more generous in his favors to Italian and German singers, it remains to his credit that he has made the Metropolitan the first opera house in the world. Nowhere else, unaided by state or municipality, is there a house which gives a full and unbroken half year of grand opera, interpreted by great sing- ers, with a magnificent orchestra, a chorus of the first class and a mise en scene, with a few exceptions, of high artistic excellence.
No one knows exactly what the profits or losses of the Metropolitan Opera Company have been, except the committee and the im- presario. But it is known that the latter some time since managed to balance accounts, and for the past two or three seasons there has been something on the right side of the operatic ledger. For having achieved the ap- parently impossible, Gatti-Casazza deserves much credit. But he must not let his success run away with him, or cause him to require an enlarged size in head-covering. Especially should he remember that he is running an American opera house. He might realize this better if he began by learning the language of the country which pays him so liberally.
IfGUiiyGUSfiiiJii^
It Says So In
T
HAT'S what you hear on every side today, where matters in any way bearing on beauty are discussed and it always clinches the argument.
^eerutx^ aims to be authoritative. On every subject there is an acknowledged expert, and if you look thru our pages you will find that we have articles by those experts, written in the most fascinating manner, and wherever possible illustrated by the best artists or the most recent photographs.
/QGerutv^ aims to be the woman's magazine par excel- lence. It presents all the latest and most reliable in- formation from the realms of society, fashion and the stage — but its scope is not confined to these. It appeals equally to every woman, no matter what her age or occu- pation— for what woman lives to whom beauty is not a subject of paramount importance?
In addition to these articles, there are hosts of fascinat- ing features. There is the great American Beauty Con- test, for instance — the nation-wide search for America's loveliest girl. There are short stories, serials, a monthly selection of the best beauty "secrets," contributed by our readers, for each of which a dollar is paid — and, as the auctioneers' catalogs say, other things too numerous to mention.
October ^^^y will contain a beautifully illustrated article on Music as an Aid to Beauty by E. Jerome Hart ; an interview with the great Nazimova on that subject dear to every woman's heart — charm ; a cleverly written article on that interesting theme "The Modern Girl" by Laura -Kent Mason. Barbara Burke continues her helpful talks on Scientific Grooming; and we are begin- ning a new series of articles on The Rejuvenation of the Middle-aged Woman by Mrs. E. Russell Jones.
/j^Geuitv^ is written, designed and printed for YOU, and when you have once read it, you will no sooner think of going without your copy on the sixth of every month than you would think of passing a mirror without glanc- ing at yourself in it.
For ^G<a^t is the Mirror of Beauty.
Page Seventy-Seven
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The Camera Contest
'SHADOWLAND" Searches for Art Thru a Lens— and Finds It
AS befits a magazine expressing the arts, /-\ Shadowland is universally noted for the exquisite photography which is al- ways a feature of its pages. No less beautiful than the work of the professional photog- raphers is that of the amateur revealed every month by Shadowland in its Camera Contest, a nation-wide search for artistic effort that is proving as stimulating as its results are suc- cessful.
In co-operation with the Pictorial Photog- raphers of America Shadowland conducts this contest in the fairest and most far-reaching manner, and we feel confident our readers will indorse the selections this month from the beautiful reproductions of the prize-winning efforts to be found on pages 58, 59, 60. They were selected this month by the following Judges : Mr. E. V. Brewster, Mr. John Wal- lace Gillies, and Mr. William A. Alcock. A list of the prize winners follows :
First Prise. — "In York County." William Elbert Macnaughtan, 293 Cumberland Street, Brooklyn.
Second Prise. — "Monk, Amalfi, Italy." Myers R. Jones, 274 Henry Street, Brooklyn.
Third Prise. — "The Coolie." Arthur D. Chap- man, 614 Lake Street, West Hoboken, N. J.
Honorable Mention. — "The Boat House," Dr. F. Detlefsen, 1846 Eddy Street, Chicago, 111. "The Tender Buds of Spring," Josephine M. Wallace, 756 16th Street, Des Moines, Iowa. "Still Life," William Jordan, Jr., 126 Atlantic Ave., Atlantic City, N. J.
Monthly prizes of at least $25, $15, and $10 are awarded in order of merit, together with three prizes of yearly subscriptions to Shadowland to go to three honorary mentions. All prize winning pictures will probably be published in Shadowland.
The committee of judges includes:
Joseph R. Mason, chairman of committee, Corresponding Secretary P. P. A. ; Eugene V. Brewster, Editor and Publisher of Shadow- land; Louis F. Bucher, Secretary Associated Camera Clubs of America; Dr. A. D. Chaffee, President of P. P. A. ; Arthur D. Chapman, Advisory Committee P. P. A. ; G. W. Harting, Advisory Committee P. P. A. ; Dr. Chas. H. Jaeger, contributing member Pittsburgh and Los Angeles Salons ; Miss Sophie L. Lauffer, Secre- tary Dept. of Photography, Brooklyn Institute of Arts and Science ; George P. Lester, Member P. P. A. and Orange Camera Club ; Nickolas
Muray, portrait photographer ; John A. Ten- nant, Editor and Publisher of Photo Miniature; Miss Margaret Watkins, ex-Recording Secre- tary P. P. A. ; Clarence H. White, ex-President P. P. A.
The jury of selection, to be announced each month with their selections, consists of three members, to be chosen from the committee or the membership of the society. No member of the jury thus chosen for any given month shall submit pictures for that month's contest.
Shadowland desires that every camera enthu- siast reap benefit from this contest and to this end makes the inclusion of the following data re contesting prints imperative :
(a) Date and hour of exposure.
(b) Stop number used.
(c) Printing medium used.
(d) Character of print — whether straight or manipulated.
Any print previously published is not eligible.
No printing