davidaulloa/AmericanStories huggingface dataset:
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1912-01-25
CONVOCATION
Of the Episcopal Church convenes .;
ST. luke's-interestin9 Al
dresses Made.

The northwestern convocatiOn a.
the Protestant Episcopal church con.
vened ~ ST I.uke's T. T. church on
The Island AT 10 O'Clock yesterday
morning with good representation
present from the northern district.
The speaker OF the morning vas the
Rev. Dr. Magcc. az Elkins. whose sub
1ect was The Hour of the Ages.
which was we'll received The convo.
cation was then organized. with the
Rev. Dr. Thomas. OF New Martinsville.
presiding.
AZ I O'Clock. the ladies Of the
church served luncheon. and az =
o'clock the afternoon session was
opened with an excellent address by
the Rev. W. u. Christman. on the
missionary work in West Virginia. A
considerable amount 81 business In
the nature of hearing reports. etc
was gone through with in the after
noon. and dinner was served az the
parish house In the evening num-
Der OF after dinner talks were made
BY DR.. Aschmann. Rev. l.. W =.
Stryker. l.. T.. Sands. Dr Downing. H.
=. Sands. Mr.. Van Horn. the Rev Mr.
Simpson. OF nellaire. and others
The convocation will convene at n
O'Clock this morning. when the NJ
Rev Bishop Peterkin will speak, the
special observance OF St Paul's day
entering into the program. There will
be another business session At Il 20
and luncheon will he served AT =
O'Clock. when the Rev. \ n. Mitchell
viii be the speaker. after which the
convocation will adjourn
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1912-01-25
E{ffFe{

! III every one would realize the danger OF Rheumatism
and al the hrs of the disease begin proper treat
ent TO get md OF it, deal of suffering misery
avoided u most persons inclined the early lightly
and by neglectng the trouble allow become so i'm
pregnaed with acid that Rheumatism firmly established
the system and then the sufferer wakes
q powerful and dangerous disease
An uric acid into the blood usually because
temc irregularities such chronic
filtration, indigestion and troubles which we give
serious thought But each of these direct effect
on the emnave members which prevents the proper
waste substances from the This refuse
ach and bowels and sourng forms absorbed
into the blood Then the foundation laid for
The occasional pains shooting through body gradually
become frequent and the
may be sensitive and fevesh Constant
acrid blood slowly dries fluids
knees, ankles, fingers, TO become swollen and stiff
lfyou do Rheumatism conquer
and do with applications
reach the which the blood right
application that will temporary relief
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1912-01-25
Directors Organize

meeting OF the directors of the
stat" iiank Of Elm Grove was held
Tuesday evening. and officers were
elected for the ensuing year. Enoch
Smith was reappointed night watch
man. and the following officers were
elected President. H. VI Thorn
burg. vice president. &. =. TerrIll
cashier. John T Carter: teller. vii
iium,s. assistant teller. George
GToadhause. The board Of director,
L. composed OF the following: II. n
Iiornbrook. VI H. McCausland. VIII
IAN Luke. J. y Vance. otto Schenk
u VI. Thornburg. Henry Stein. j T.
Eabb. T.. NJ. Atkinson. Daniel Man
we'll. Adam Yahn. !. l. Kimmius and
&. u. Hart.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1912-01-25

Rheumatism, but no one
should forget that the vital and
necessary treatment is that
one which reaches and changes
the character of the blood.
There is but one way TO
cure RheurStism and that is
to cleanse the blood OF the uric
acid poison. s. s. S. goes
down into the circulation. and
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1912-01-25
PimpleS Removed
Quickly
The New Calcium sulphide Treatment
Does Wonders 70 Every Kind
Of Skin Eruption.
Trial Package Sen, Free 90 Prove I

Trial Package Sent Free 90 Prove It
You don't want To- wait forever ard "a
caN 20 set rid ~ N"Ir pinTles or other
SKIN eruTtion~ You want 90 get rtd or
'h"m right now N.Nt week voi may
want - 20 Soru.whet. WA-r.N YOU
wouldn't Ike 70 nave to take tie PIN
4 es along.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1912-01-25
Poor Married Man.

The time will cons" numbered TN.
suffragette orator. when woman VIII
Ect mans wages
Yes sadly Wuttercl a usn On ? .
rear seat. next saturday night" From
Judge.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1912-01-25
Threw Away
His TRUSS!
Strenuous Old Sea Captain Fools the Doctor
And Cures Himself.

No mnn or woman who Il ruptured-ne
GfSuair pf befnr
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20
J. @. A. WARD.

American sculpture owes much to
the moGeller of THE Indian Hunter" in
Central Park. and the General Wash
ingtol" which stands beneath the
shadow Of the Sub-Treasury In New
York. He was one of our pioneers and
from lis youth, when he served de-
voted apprenticeship in the studio of
Henry Kirke Brown, he followed ana
effectively illustrated a sterling ideal.
1t is fitting that he should be comment
Grated in some permanent form and
readers will welcome therefore the
monograph by Mrs. Herbert Adams.
John Quincy Adams Ward; An Ap-
preciation," which was written for the
National Sculpture Society and has
been published by that body as a
memorial of its late Honorary Pres!-
dent. Herself the wife of a sculptor,
Mrs. Adams has been peculiarly quail
ficd TO enter into the spirit OF her sub
ject She knows the atmosphere OF the
studio. Her book is full OF knowledge
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20
Early italian PaintingS-An
American Sculptor.

The Society Of Illustrators is holding
IN exhibition Of works by its members
IN the galleries of the National Arts
Club. Later on this show is to be sent
about the country under the auspices
of the American Federation of Arts.
Another exhibition, this time including
sculptures as well as paintings, is being
held by the Mcdowell Club. John II.
Alger, Arthur Lee, Paul Rohland and
three or four others are represented.
The Folsom Gallery is hung with pict-
ures presented as interpretations Of
New York life" by Jerome Myers, John
Sloan, George Luks, George Bellows,
William Glackens and Guy Dubois.
AT the Hahlo Gallery group of about
fifty etchings by Mr.. d. Y. Cameron
may be seen. His work has so re-
gently been traversed in The Tribune
that it is unnecessary to return in de-
tail to the subject. 1t is enough to
state that, being one of the strongest
of modern etChers and, into the bar
gain. an artist with an unusually
charming pictorial faculty, Cameron is
always worth seeing. on this occasion,
by the way, a very attractive illus
trated catalogue has been provided,
with a chapter from Sir Frederick
Wedmore's "Etchings" reprinted as an
introduction.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20

and sympathy. 1t is 10 be inferreu'
too, that personal friendship Win
Ward has contributed to her unuer-
standing of his work. But what Is
n,ost admirable about this study Is ls
testimony TO an insight having nothihs
to do with professional or personal re-
Iations. This biographer has the
imaginative power which Is so lmpor-
tant TO the critic If he Is to penetrate
70 the heart Of his theme, and, in con-
sequence, We have here more than one
saving exactly interpretative OF Waru 5
essential quality.
1t was from first to last profoundly
masculine. Speaking Of the range or
his art, Mrs. Adams notes that those
who knew him only in the monumental
work Of his later years have been sur
prised to come upon small objects ex-
auisitely modelled by him. She recalls
little bell Of silver, with figures IN
high relief, which she characterizes as
marvel of delicate beauty. We WISH
bv the way, that some of these minor
productions of Wards might have been
included among the excellent Illus
trations gathered together at the back
of the book. But It was, Of course, to
problems Of monumental sculpture that
he chiefly addressed himself, and Mrs.
Adams rightly lays stress upon TINS
aspect of his work. Male, in the high
est sense" she says, ARE his most
characteristic works-the Washington
the Beecher, the Garfield, the Snake
speare, the Thomas. Few nave
euualled Ward I'm setting forth me
Man, the virle, real, active presence IN
the world that lies about us" His sue
cess in this matter is traceable 10
dual source, to an Unborn habit OF MIND
and the intense Americanism which
pervaded IT, Wards personality was
precisely what one would have ex-
pected TO find behind the simple force
of his work. Thinking OF him one
thinks of what Arnold loved to praise
in Byron, a splendid sincerity and
strength. It is we'll observed by Mrs.
Adams that ito the man in him as well
as TO the artist, he owed the recogni-
ticn the years began to bring" and she
brings the very image OF Ward before
us when she goes on TO say that the
PRACTICAL working heroic qualities of a
man were dishonesty, enthusiasm,
common sense mental and physical
vigor." With these traits he was PEE
destined to wreak his art upon the por-
trayal of American men with an un.
crring instinct for character When he
portrayed leaders like Washington,
Greeley and Beecher. he carried his cX-
preston Of their Municipalities not
only INTO his study of face and figure
but into his very technique and style.
A robust simplicity was his leading
characteristic in his art as In his life.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20

finished portraits, and, indeed, they are
sometimes Of even greater value, be-
cause of their possession Of moro
spontaneous, more personal, quality.
They give his first impression Of SIT
ter and are often extraordinarily vivid.
We reproduce from the Societe port
folio a Portrait Of a Woman" In tho
collection Of NJ. David Well. 1t has
been tentatively identified as the por-
trait of a noted eighteenth century
actress, Mile. Dangeville, Of the Theatre
Francois. While we await the conclu-
sion Of the matter We may enjoy the
individuality Of this animated face. Ia
Tour is always beguilingly human.
Quantities OF his portraits are without
the names of the sitters, but one Is
hardly concerned with the fact. His
persondges, whoever they may be, have
always something to say to us that Is
their own. This racIness Of La Tours,
almost homogeneous in view OF the
fragile nature Of his medium and the
decorative tendency Of his style, Is eX-
planned both By his sheer power as an
artist and by his everyday, familiar
characteristics. He was man of sa-
lient originality, a courtier, but not in
the smallest degree a creature Of con-
vent'on. He was always drawing lis
own portrait, and when doing this he
not seldom laughed. Thus he faced
life, gayly and naturally. Lady Dixie
cites a contemporary description q;
him, carrying his head high, his eyes
bright and full Of fire, the oval of his
face deanly cut, his thin lips showing
a ready turn for criticism" The Eager
clever soul Of him passed irto bis art.
&c.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20

mate mood. Arresting, too. is the pure
craftsmanship so redOlent of a Tor
NAL tradition and yet so much finer IN
expression than one would expect for
malism to permit. That is the secret
of the early Italians, their fusion OF
style classical in its austerity with an
emotion as candid and as wholesomely
penetrating as are the airs Of spring.
Turn to the majestic Madonna and
Child Enthroned with Saints by Lo-
renzo da San SeverinO. The Madonna
in her brOcaded robe, Is a sufficiently
hieratic figure, set with weightiness In
a carved chair before a background OF
pue gold, but while she Is lost in re-
poseful abstraction the Child leans for
ward as though ready to leap from her
arm. and the kneeling saint toward
whom the little hand is outstretched
is a figure of very nearly domestic
naturalness. Here in movement, ges-
ture and physiognomy the artist af-
firms the fundamental vitality of his
school. the human instinct which gov
erned all it's flights.
It is a point well to keep in mind
for in these days of oracular con
noisseurshp," when the essence of a
work Of art is sacrificed to the glib dis
cussion of what If we may risk the HI
bernicism, we may call non-existent
profundities, the true value Of paint
ings like these Is often forgotten. In
the present exhibition there are temp
tations, 1t Is true, to touch upon one
or two questions of attribution. There
is the Madonna and Child" given to
the school of Leonardo da Vinci. Mr..
Burroughs remarks that none of the
SPECIALISTS of to-day considers this
beautiful little picture to be by the
hand of Leonardo" 1t is difficult TO
see why il should be associated even
with his school, for while the traits Of
the I res are LeonardesQue enough,
the whole affair is terribly heavy hand
ed. On the whole. however, there is
little occasion for deviation into con-
troversy. To another problem we will
return below, but the main point Is 10
testify TO the fragrant beauty with
which these souvenirs OF the historic
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20

South fill the room. We have alluded 10
the preponderance of religious themes,
and in addition to those examples al
ready cited we would signaliZe the
stately Madonna and Child OF the
late fourteenth century, with It's
quantity robust figure Of Eve reclining
in the lower panel; the bewitchins
Madonna Adoring the Child, Attended
by Angels" painting dating from the
late fifteenth century; the richly, even
unctuously, painted Death of the Vir-
gin" by Polidoro Lanzani; the dra-
matte "Pieta," by Leandro Bassano'
and the very handsome, opulently col
ored Virgin, Child and Saints by
Filippo da Verona. But the collec-
ton has other and very beguiling as
poets.
There is an amusing fifteenth century
cassone, representing a horse race IN
the streets Of Florence. There is a
Procession from a Castle fragment
ascribed to Bernadino Parcnzano,
which delightfully."- illustrates the old
Italian application Of realistic motives
to a decorative purpose. There is
small but very characteristic sketch
for a Ceiling" by Tiepolo. There is a
large categorical piece. summer and
Autumn" which Dr. Valentiner and
Mr.. Burroughs shrewdly connect with
a drawing by Hendrick Goltzius. This
last surn1ise is certainly more per-
suasive than any pointing to an Italian
origin. Several portraits also appear,
among them a fine "Giuliano de- Me
dici," attributed to Salviati, and a head
of a Florentine doctor, possibly by Jus-
tus Of Client, which has its merits but
is Of no great significance. In one Of
the portraits, the best of them all,
there is material for some rather pi-
quaint speculation. This is the double
portrait. "a Gentleman and His Wife"
which is ascribed TO Giovanni Battista
MOroni. 1t is question whether IT
was not painted, instead, by Antonio
Moro.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20
THE HOLDEN PICTURES.

Among the many improvements
made at the Metropolitan Museum in
the last few years none has proved
more serviceable than the reservation
of one of the best rooms in the build
ing for the special exhibitions which
now figure so significantly in our ar
tistic life. This gallery is ideally
placed and the things shown in it are
always well hung. Just now 1t is given
over TO a number of early italian
paintings. the property Of Mrs. l.. f,
Holden. of Cleveland, which are evil
IDENTIFY to be lent for a considerable
period. since the bulletin states that
bv and by they will be distributed in
other rooms, according to schools and
epochs. Mr. BrysOn Burroughs, the
curator of paintings, interestingly de-
scribes and catalogues the collection in
the current number of the bulletin,
and relates it's history.
1t had its origin in the enthusiastic
labors Of the late James Jackson Jar
YES. Long resident in Italy, this man
of taste cherished the hope that he
might promote the establishment in
America Of a museum for the study of
Italian art He brought together for
this purpose many fine pieces. AS Mr.
Burroughs notes, he affixed to them
names which have not by any means
invariably stood the test of criticism
but "he made no pretence that the
works themselves were masterpieces, -
and at bottom he knew what he was
about. He bought genuine and good
pictures, and, in certain cases, as those
familiar with his pictures at Yale well
value In any case, he was as a col
lectOr far in advance Of his time. One
rival he had, the Thomas ]. Bryan who
gave his paintings TO the New York
Historical Society in 1861, but other
wise he stood alone as an amateur of
early Italian art. 1t is not surprising,
therefore that he was disappointed in
his high hopes of persuading his cOun-
trymen to give some sort Of public sup
port to the subject nearest his heart.
The upshot of his noble scheme and
the manner in which the Holden col
lection came into being are thus de-
sCribed:
Mr.. Jarves's idea that a museum be
formed which would acquire his cOllec-
ton as a basis unfortunately miscarried
On his return to America he exhibited
lis pictures in 1850 at the Derby Cal
leTy. No. 625 Broadway, New York, and
again in 1853 at the New York Histori-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20

portrait 1t comes out in the structure
of the heads. il is visible also in the de-
tails of costume. and it shows partlcu-
IarIv I'm the drawing OF the four hands.
These. moreover, illustrate IN 'he
tapering fingers trait that is constant
in Moro and that Moroni far less ire
nuentlv exhibits. Both in their form
and in their placing the hands OF the
woman i'm the Holden picture are elo-
uuent of what you find over ana over
again in the feminine portraits OF
Moro. Finally, in the portrait OF the
man. there are details inclining us 10
hazard the opinion that we have mere
not only a piece of painting by Moro
but q portrait Of the artist himself.
There are two portraits Of him from
his own brush well known abroad
One. showing him seated before MS
easel. well on in years. Is In the olli~''
The other. painted in his prime Is
three-duarter length In when ne
stands with one hand resting upon
the neck of a dog. 1t Is In the coilec-
ton Of Lord Spencer, at Althorp. Com
pairing this Althorp portrait with that
i'm the Holden collection. one resem-
blance after another jumps to the eye
the differences seeming only or that
slight nature which would naturally
I've accounted for by the difference in
age Moro. if for the sake Of argument
we may take him to be the painter or
the Holden portrait is therein young
man. only thirty-fve. as the lettering
i'm the corner states. The hair falling
over his brow defines there line
which is changed In the later portrait
only as increasing years might be ex-
pected to change ii. Notifications in
beard and mustache may be explained
I'm the same way. If the nose in the
later portrait is trfie bonner, If the
eyes are a little deeper set, II the ear
is a little less firm, ii is for the same
reason. The man in both portraits
wears his ruff with the same air and,
in fact in his whole dress and carriage
seems the same individual. 1t IL an
odd point that the chain which Moro
wears I'm the earlier portrait comes
well I'D around his neck, because 1t Is
in three loops, whereas the identical
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20

chain, worn I'm the later portrait. there
hangs lower down because il Is worn In
two loops one fingers over this mat
effects Of the different looping so neat
IS jump with our theory, but because
a valuable chain is precisely the thing
that Moro would have preserved from
his young manhood and would have
sI0rtcd in the fifties the period Of the
Althorp portrait, as he sported II in
his thirties.
The sword hilt showing i'm both por-
traits looks also the same in them both,
the swerving line which appears in one
and not in the other being expainable
on grounds Of perspective. IL is strik-
ing, Furthermore, TO note the similarity
between the two belts TO which the
sword is attached. and especially at the
Wcarer's back where i'm both cases a
knob Of metal peeps forth. Still more
important does our comparison become
TO anatomical details, studying the
hands. 4 certain squareness across the
right hand at the knuckles, and the
long tapering fingers which we find In
both portraits, give the finishing
touches 10 "A most alluring hypothesis
so far as details can give them. AS for
the general character of the subject our
impression is pretty nearly conclusive.
IT would seem almost certain that the
painter who portrayed himself at thir-
ty-Gvc in the Holden portrait could not
bu; have portrayed himself at fifty or
Whereabouts exactly as in Lord Spen-
GERS superb work. If our surmise Is
correct the Holden portrait should take
on a doubly interesting status. A new
Nero by itself would be worth having,
but a new Moro that was also a new
portrait Of the master, showing him
young, as we have never seen him be-
fore, and with his wife beside him,
would be an addition to the mass of mis-
productions for which students of his
art would be peculiarly grateful.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20

isle OF Wight Sketch Book" has its
value for the Turnerian, and the ac-
companying plates are welcome, but
neither this nor the sheaf of notes on
an early portrait by Reynolds seems
quite to fit into the general scheme.
These things might have appeared any
where. In view Of the Walpole So
ciety's programme the same space
might more appropriately have been
given to older themes. More to the
point are some notes by Mr.. w. X
Lethaby on London and Westminster
painters in the Middle Ages. He makes,
to be sure, too large claim for the
old decorators, whose work survives
only in sparse fragments. In Englan1
M the end of the thirteenth century"
he saws. I'VE had brother craftsmen or
Duccio. Cimabue and Giotto." one
may recognize worthy elements in the
paintings here reproduced in colors
from water color copies by Mr.. r. w.
Tristram and still be disinclined to take
those medieval Britons very seriously
In sculpture the earlier periods were
richer. Professor +. S. Prior offers "A
Sketch of English Mediaval Figure
Structure" generously illustrated from
photographs, in which material drawn
from the great cathedrals Is demon
strated to possess substantial artistic
value. But the one outstanding item
in this volume is the hitherto unpub-
rsbed manuscript mentioned above.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20
MORONI OR MORO7

The similarity between the names Of
the two men might easily have caused
an error in the making of some old in
ventory, and this error might as easily
have been perpetuated through the
force Of other circumstances They
were contemporaries, and so dealt in
the same costumes. Furthermore, in
style the Italian painter and The master
Of the Low Countries have, super
ficially, more than one point in COM
mon. But closely scrutinized each re-
veals an individual habit and the
painting at the museum is in various
ways more suggestive of Moro than Of
Moroni. The method of the latter has
about 1t a certain freedom and soft
ness. His brushwork is very modern.
Now Moro, who could paint with great
power, nevertheless discloses in every
thing that he did keener. drier linear
quality than characterizes Moroni and
II is this quality that marks the Holden
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20
THE WALPoLE SOCIETY,

Something over year ago this So
ciety was founded I'm London. with the
object of promoting the study of the
history Of British art. The intention
was to do away with the idea that the
National School Of Painting was a sud
den and unaccountable birth in the
eighteenth century, by the publication
OF such documents as would prove the
value of certain earlier activities. We
are not sure that in the long run any
very serious omissions will be dlscov-
cred in the familiar history of the sub
ject Apart from their architecture.
which has owed so much TO foreign in
huence, the British have not been an
artistic people.
The first annual volume OF the wal
pole Society is a thin, well illustrated
folio. Five papers are contributed and
one old document is brought to light.
Mr.. Finberg's discussion of Turner }