davidaulloa/AmericanStories huggingface dataset:
Honolulu star-bulletin. [volume] (Honolulu [Oahu, Hawaii]) 1912-2010, 1912-10-25
Earnest Study and Enthusiasm
Mark Resumption of Meet
ingS This Fall

OF the many woman's organizations
In this city, there Is perhaps none
that holds the interest Of the thinking
women more than the Thursday Morn.
ing Bible Glass that is held at Gen.
trial Union Church every week.
This class was formed by Mrs. Paul
Super las year. Mrs. Super is chair.
man of the religious movement COM
mittee OF the Ladies' Society OF Cen.
trail Union Church and the Bible
class Is under fits direction. The form
ing Of the class was almost unthought
of among the women here and was
first brought to the attention OF TEN
OF them at o luncheon given by Mrs.
Super at her home. The ladies read
lily fell In with her plans and each OF
them undertook to invite ten or fif-
teen other women to q luncheon at
the Colonial. There were eighty pres
ent at the luncheon and the plans for
the class were discussed by both Mrs.
Super and Mr.. Ebersole. When it
came time to enroll. sixty names were
turned in 10 Mrs. Super. Soon, how
Honolulu star-bulletin. [volume] (Honolulu [Oahu, Hawaii]) 1912-2010, 1912-10-25

dents and in less than ten minutes
every one of the thirty that were on
sale was purchased, indicating that
the school spirit of Punahoa Is very
much alive As this sale was de-
cided success there viii no doubt be
several more. .isssss L ...i3. 4
Honolulu star-bulletin. [volume] (Honolulu [Oahu, Hawaii]) 1912-2010, 1912-10-25

Photo Engraving Of highest grade
can be secured from the Star.BulletiD
Photo. Engraving Plant
Honolulu star-bulletin. [volume] (Honolulu [Oahu, Hawaii]) 1912-2010, 1912-10-25

:, Carl Waldeyer and Cecil Whitaker,
the. latter a late arrival from Vancou7
yer, B. C., have formed a partnership
in the real estate business and will
have their office in the Palm Cafe
building. -
The day book. [volume] (Chicago, Ill.) 1911-1917, 1912-10-25

.22d st. car started as they were
getting on.
Ida Nusser, IL, 1880 N. Hal
sted ST., missing.
Mayor Harrison received let
ter from Vim. Stratman, New
York, begging him to help find
his son, who disappeared from
Astoria, L. l., on Oct. II.
Mrs. Mary Newly, SO, SOS S.
Halsted St., arrested on charge of
contributing to the delinquency
of May Hogan, IS, 5757 S. Hal
sted St, who ran away from home
week ago.
Vim. Williams, IS, 9O7 Sedg-
wick ST., arrested for beating his
wife. Said she gave him hash too
often. Said he was sorry and
wanted to be sent to Br1deWell.
Asked the judge if they, served
hash at Bridewell.
Mrs. Rose Baroni, SO, 1919 w.
Taylor St., driven insane as result
of dependency over death of her
husband in 1908. Detention hos
pital.
John Hinchy, 46, 814 Miller ST.,
teamster, quarreled with Police
man Robert Anderson, so, his
neighbor, in the rear of their
homes. Hinchy struck Anderson
with pitchfork. Anderson fired,
hitting Hinchy above the eye.
Anderson arrested pending out
come of Einchy's wound.
The day book. [volume] (Chicago, Ill.) 1911-1917, 1912-10-25

glars: Took $500 in jewelry and +,
clothing.
James Murphy, 8, 2O46 w.
Huron ST., struck by Robey st. car
at Erie st. Severely bruised.
James O'Leary arrested at 4183
S. Halsted st. for accepting bets
on election. His odds were: Will
son, l to 3; Taft, 2 to l; Roose-
welt, 7 to 2; Debs, 1000 to /;
Chain, 5000 to l.
Roy Cradle of this city stopped
runaway horse in Los Angeles,
Cal, park two months ago and
saved life of Miss Anna. Curr.
Wedding tomorrow.
Sounds impossible but the In
diana Society of Chicago, poets
and all, will hold speechless din
-ner at Hotel La Sale Saturday
night.
Mrs. Adele v. Sturtevant,
singer, living at the Lexington
Hotel, has been granted divorce
from M. c. SturteYant, engaged
in railroad construction work, on
grounds of desertion.
Bldg. Com. Henry Ericsson is
sued order that all political post
rers be torn down from protecting
structures placed in streets
where work is in progress.
Winifred Balder, 8, 239 N.
Fairfield av., played around bon
fire. Dress caught fire. Severely
burned.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-08

9he famous "Carceri d'Invenzione,"
those prodigious etchings which Pira-
nesi is said to have designed while in
the delirium Of fever. They represent
his one audacious departure from the
purely architectural motives which are
most familiar in his plates, series In
which he piles stone upon stone with
the prodigality Of some Cyclopean
builder. investing his monstrous struct-
ures the while with a strange and grim
atmosphere. The effect is, in way,
theatrical, but beneath 1t there throD
the emotions Of anguish and horror
which lie in the soul of prison. Here
in short. is an exhibition the stuff OF
which is essentially tragic. But in most
of the collections now on view the note
is better adjusted to the sentiment OF
the hour. At the Kennedy Gallery
there may be seen a quantity OF old
English prints in colors. with modern
mezzotints, likewise in colors. by S.
Arlent Edward and others. An exhi-
bition Of plates by Mr.. EDWARDS Is
also on view at the Busse Gallery.
Kraushaar is showing etchings by
Hedley Fitton, and Moulton & Ricketts,
display etchings by Frank Brangwyn'
Axel Haig, A. E. Howarth and several
others. And still, as will be seen be-
low. the list is not exhausted.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-08

not a type Of creative genius but
skilful modeller. In some instances If
not in all, we might legitimate.y sub
stitute for the pretentious title one so
simple as "A Study of Form" The
point has been raised by the works OF
greater men. The shadows we dis
cover when we embark upon the little
sea Of Robins nomenclature make an
old story. There are figures of his In
which only the hysterical acolytes of
the master can perceive any of the
esoteric solemnities implied in the
titles that they wear. But Rodin, with
his diabolical skill and his poignant
realism, can at least give you some
sort Of human cosmos into which 1t Is
occasionally excusable to read deeper
meaning than perhaps he intended. Mr..
Beach has hardly the same warrants.
1t is a hard and even a painful saying.
How one hates to stay unmoved before
a mass of work so richly significant OF
u
Unborn faculty! One longs TO delight
in it, to find in it beauty and power.
But Mr.. Beach seems on the way to
these precious gifts rather than in the
authoritative enjoyment Of them.
Let us choose as one Of his best and
most revealing performances the group
called 1.-The Cloud" 1t was in a happy
hour that the sculptor hit upon the
motive here developed. Below, in re-
lief, he models the strong contours of a
mans back. Above, in piquant con-
trast, he filings the suave lines of
young feminine figure. No better OPP
portunity could he have found for an
exquisite play of form. Yet ii leaves
us cold. and the reason is plain. Good
modeller as he is, Mr.. Beach has not
achieved the full magic needed for his
task, and, we suspect, IL is not a ques-
ton of manual dexterity alone, but Of
grasp upon the terrible problems that
lie in the living body. His figures, not
only in this group but in many another.
seem weak in organic structure. They
are modelled with an Individually clever
feeling for external effects, but the
sculptor never makes us feel the stern
facts Of bone and sinew within. 1t is
the inner substance and at the same
time the inner flame that he misses.
He is sensuous, but not impassioned
That is why we question the validity
of his ideas. When he was modelling
his "Life's Vortex" with its figures
swarming in relief in kind Of column
mar design, was his imagination really
stirred? Did he have the sense Of call
ing beings into existence. or were his
fingers deftly working out a more or
less decorative pattern? The answer.
we fear. is only too obvious. In a few
rare moments MIR. Beach endues his
work with an almost, if not quite,
kindling vitality. The horseman in his
Dawn" is modelled with an admirable
feeling for movement There are. too,
a few figures typical Of sort Of
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-08

taste did not Whistler make some
thing e a fetch of the matter in his
own practice?) so a catalogue may help
us in the Interpretation of frame Of
mind. The exhibition of Mr.. Chester
Beach's sculptures at the Macbeth Gal
lery offers case in point. The little
list of some thirty-five or forty titles
is full of arresting words. Dawn
Mystery" "Life's Vortex" Achieve
ment," Sacred Fire" THE Dark
Cave" thus the inspiriting designations
run. Who would not on receiving a
leaf1et so eloquent hasten TO the exhibit
ton with high erected hopes? 1t is the
work that counts. We must not take
too seriously a mere printed list. And
yet we are bound to give it some con-
sideration. for it is the announcement
Of a point of view, il is in some sort a
declaration of principles. MI Beach
comes before the public definitely as a
sculptor dealing in ideas, as man OF
imagination. We test him, therefore
in a measure, by his catalogue. After
all, that is only another way of saying
that we ask him to show us what he
makes of some proud themes.
1t is a crucial query and the more
profitable for the observer. inasmuch
as the reply he gets throws him back
so promptly and so sharply upon the
true secret of Mr.. Beach's very inter
esting talent 1t is not in the least
talent for ideas. We go from piece 10
piece with the best will in the world
for any imaginative suggestion which
the artist may have to communicate.
The mere fact that he has had his
dreams predisposes us to meet him
half way. 1t is for the artist who
dreams that one is always on the
watch. But when all is said we recog-
nize in Mr.. Beach the possessor not OF
an inspired vision but Of a clever hand,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-08
New Pictures by Mr.. Bridgman
and Mr.. Closson.

Mr.. Frederic A. Bridgman is one Of
those Americans who long ago settled
in Paris and adjusted themselves 10
the tone and movement of the old
Salon. He early made his way through
the picturesque treatment Of Oriental
themes, and if he was sympathetic 10
current conventions he at any rate
contrived to detach himself from the
rank and file through a fairly decisive
key Of color. He has enjoyed the solid
repute of "A well trained craftsman
His efficient studies OF Eastern types
the stately Moor and the pretty Great
ures of that worthy's household, have
been put together with a shrewd pic
torial sense. and they have been widely
popular After an absence of some
time ne has opened an exhibition In
New York. showing a score of can
vases at the Folsom Gallery. They
have all his familiar traits. and in some
Of them notably Coast OF Algiers.
Among the Pines" and The White
City. Algiers.' he gives us fresher light
and air than we have associated with
his work. A glimpse of the sea in one
of his compositions turns out to he OF
stimulating import II heightens the
vividness Of his color and adds to il, IN
some slight degree, a note of charm
The romantic sentiment of things ex-
otto is well expressed in his pictures
That and their brighteness will give
pleasure to this accomplished painters
admirers.
Besides Mr. Beach's sculptures there
may he seen at the Macbeth Gallery a
collection Of small paintings by Mr..
William b. Closson. He uses his
brush with an engaging freedom. and
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-08

plastic in the exploitation of their ideas,
whether religious or symbolical, and
some Of them, like Mantegna, drew
with a stern power. Yet kind Of
naivete hangs about their work Their
exquisite simplicity touches us with a
perhaps the most artless and the most
lasting element in the art of the period.
Mr.. Ederhemer, in the introduction 70
his uncommonly we'll compiled cata-
logue. speaks with pride of his success
in getting this show together. We can
sympathize with him. So full and so
fine a series of early Italian engraving
is seen only at rare intervals.
This is not to say, however that the
school is never to be observed any
where else. At the Keppel Gallery, for
example. it may be studied In some
beautiful examples. A private collec-
ton of prints recently acquired by this
firm and put on view contains about
one hundred and fifty pieces from many
different historical sources. ? The col
lection ranges, in fact, from the old
masters to Whistler and Lepere. One
seventeenth century Frenchman, Nan
teuil. makes a brave showing in this
miscellaneous array, and there are
divers other schools Of importance in
terestingly illustrated But the cream
of the collection comes from Renais-
sance Italy. Giulio Campagnola, Man
tegna, Giroamo Mocetto and Nico-
letto da Modena, they are all here, the
men whose very names make an in
comparable music. Entering the KEEP
pei exhibition, we traverse with APP
probation everything that is there.
But as we come away it is the beauty
of the Italian prints that stays in the
mind.
There is a show at the Knoedler Gal
lery of eighteenth century mezzotints,
rare and beautiful impressions of those
plates which were scraped by crafts
men, themselves masters, after the por
traits of Reynolds, Romney, HOppner
and their fellows. These prints are all
old friends, but being consummate
works of art they possess a perennial
freshness. What magicians they were.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-08

reaches triumphant efflorescence. IL -
ruder. deeper truth that one chiefly
Graves, and, with more Of actual life.
the sculptor would doubtless give us
more emotion. His modelling too. MINI
ble as il is, has yet TO be considerably
developed. IT is good as far as it goes,
but though it is delicate ii is not subtle,
nor is it expressive Of individuality.
Taking all this work in the mass, one
is struck by the fact that Mr.. Beach's
proficiency has not been so far per-
sonalized, so to say, as to make him
the master Of "A style. All over the
world young sculptors are trying their
hands at the art practised by Rodin,
and by Michael Angelo before him, the
art Of causing a figure TO emerge like
an exhalation from the marble,
whether in the round or in relief. 1t
is one Of those expedients which by
themselves will secure a certain ar
resting effect. But il takes a man OF
genius to use it in his own way and
with really distinguished results. Mr..
Beach does not quite make it worth
while. He has grace and he has facil
ity, but his art needs TO be further
strengthened and enriched.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-08
Mr.. BeaCh's SCulptureS--Man-
teqna and Other Early Italians.

The paintings and sculptures for the
winter exhibition of the National Acad-
envy Of Design were all received at the
Fine Arts Building late last month and
are now being sifted and put in place.
The show opens next Saturday. 1t is
TO be followed, by the way, by the an
nual display of the Architectural
League. Meanwhile the salient event
in New York is the opening at the
American Art Galleries of the exhibit
ton of Danish, Swedish and Norwe-
gian art which we have already an
nounced. There is to be formal re-
ception tomorrow evening for the dip
lomatic representatives in America Of
the governments concerned, and the
public will be admitted on Tuesday.
The show lasts until the day after
Christmas. We reproduce a few of the
pictures exhibited in order to give the
reader some idea of what is signihed by
this affair, but critical comment on the
subject must be deferred.
Although in this exhibition, and In
othess, there is plenty of color to be
seen, the holiday weeks always have
about them a good deal of "black-and-
white" and in the present season they
are fuller than ever Of prints. There
are prints everywhere. in a veritable
food. AT the Public Library the por-
traits Of Washington, (which we have
already traversed. are still on view. and
in the Stuart Gallery the curator has
put forth a selection of fifteenth and
sixteenth century engravings. includ-
ing pieces by Durer. Lucas Van Ley
den, Marc Antonio and divers other
historic craftsmen. At the Women's
Cosmopolitan Club they are showing
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-08
Andrea Mantegna and Some
Other Engravers.

There is an exhibition at the Eder-
heimer Gallery reviving interest in "A
school Of engravers occasionally, but
none too frequently, heard Of by the
American student. This is the school
of the Italian Primitives and of those
masters like Mantegna. whose genius
expressed the finest essence Of Renais-
sance art. The subject has not been
neglected here. The Grolier Club once
arranged a memorable exhibition of
carly Italian engraving. illustrating the
school. as Mr.. Edcrheimer now illus
trates il. from Maso da Finiguerra TO
Marc Antonio Raimondi. the henchman
OF Raphael. But that was ten years
ago, and while there have been other
exhibitions since, they have not pos
seesscd the character Of the present
display. which. by the way. owes much
10 the pieces I'm IL from the we'll known
collection Of Mr.. Junius Morgan. There
are 107 items catalogued. important
subjects in rare and sometimes remark
able impressions.
The spell OF the early Italians is recon
dite and potent. They triumph in "A
manner quite apart from that OF the
German masters or that the French.
Durer exercising the free creative art
OF a man Of genius. nevertheless was
moved by the conditions Of his time %
address himself To the people at large.
His natural tendency made the task
easy enough. With his devout and
philosophical mind he really needed no
coercion to make him a popularizer OF
Scrlptural images and ideas. A great
done in the field Of religion. and IT was
done. we may add. not only with i'm
aginatiye power but with a notably
realistic style. The French engraver,
on the other hand, catered to fashion
able society, and when he was not oc-
cupied with portraiture he was dipping
with a quite artificial elegance into the
world OF mythology. In Italy things
proceeded with a difference. The en-
graver worked more or less under the
wing OF the Church. but his was, on the
whole, a more disinterested art, an art
related less closely to religious or ordi-
nary social aims. Engravings in Italy
WERE far more than elsewhere In Eu-
rope, the equivalents of drawings. Gel
lini declared that engraving had its
origin in pen drawing. Raphael had
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-08

simple impressionism, figures like The
Big Wave" which have a certain
sound realistic force, and this force re-
affirms itself, too, in excellent fashion
when he makes portrait. The Mrs
B." is, on the whole, the best thing in
the show. Next to it we would place
the head Of the man in the figure called
Achievement" There Mr.. Beach ap-
pears to have got good construction as
well as good surface. But in his large
ambitious nudes, in the things on
which it would seem that he HAD
wreaked himself with the keenest en-
thusiasm for plastic beauty, he again
and again falls short of what we infer
10 he his goal.
His is an art in transition, and there
is much to be added to it before 1t
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-08

those industrious and fairly inspired
engravers' Theirs was a subordinate
role. and we are not sure that even to-
day collectors think first Of those COM
monplace names which appear at the
bottom of their prints. II is Reynolds
or Gainsporough who seizes the imagi-
nation. not John Jones or James Wat
son. or any of those men whose patro-
nymics. by some odd coincidence. seem
10 harmonic with their nominal OBJ
scurity. But though it is Of Gainsbor-
ough that we are bound 10 think when
we look. say, at the bewitching Sig
nora Giovanni Baccelli." equal honor IS
really due to John Jones. who made the
plate. He II was who, translating the
masters color into monotone, gave that
monotone beauty and a charm of its
own These mezzotints are full of sem
suous delight, full of the rich, velvety
blacks, the warmer browns and the sill
very grays which, in their way, are as
beguiling as any tint that ever came
from a painters palette. The cOllec-
ton is small. but judiciously selected.
Apropos OF the old masters it repre-
sents we may recall here an incident
bearing upon the name of one Of them.
Sir Joshua. Not long ago a newspaper
review Of an exhibition contained an
allusion to him. Forthwith the gallery
where the show was held received n
copy of the article in question from a
press clipping bureau. with the usual
offer to send further notices. II was
addressed to "Sir Joshua Reynolds"
The searcher after bizarre sensations
has only TO stroll from this exhibition
to the one that is accessible at the
Photo Secession Gallery. II is COM
posed of caricatures drawn by Mr.. AL
fred j. Frueh from q number of Amer
lean actors and actresses. Beauty is
the last thing to enter into this satir-
lists scheme. though from time to time
it would seem as il he were seeking at
least some huidity and charm of line
His grotesques are certainly clever. At
first glance they threaten TO carry ex-
aggeration so far as 10 leave the sub
ject quite out Of sight. but lingering
over these caricatures one is, after a
while, struck by the real power. of eX-
preston shown in them. 1t hovers es-
pecially about the mouth. Gesture
gives Mr.. Frueh some of his best eff
fects but on the whole it is when he
allows his humor to play over the face
of a sitter that he gets in his most sue
cessful strokes. 1t is a decidedly en-
Pertaining show, which should not be
missed. and, we may add. Mr.. Frueh
has thrown wide net sketching John
Drew. George Arliss. Otis Skinner, Mrs.
Fiske, Julia Marlowe, Nine. Smone.
Ethel Barrymore and any number of
other leaders in the theatrical world.
r. G.