davidaulloa/AmericanStories huggingface dataset:
Atlanta Georgian. [volume] (Atlanta, Ga.) 1912-1939, 1913-10-12
rga Girl Paints Rosy Future for the Artists of the Southland

and the completed figure even more spirituaIl
than would any portrait that is half drawn,
half suggested. 1t seems that in this new
method the young Georgia painter has discov-
cred means of true artistic expression as well
as original expression. She does not work ex-
clusively with the white and brown combination,
but works In oils as well.
Miss Edwards has made a number Of por-
traits by this method, most Of them Of proni.
nent persons In Chicago, where she studied and
where she opened studio of her own She win
return to Chicago soon where several commits
sions for portraits await her.
Miss Edwards displayed several portraits e1-
ecuted in the new method One was that Of
Mrs. Stanford White, widow of the architect.
Another was the study of an italian peasant
girl made during the period of her European
study. Both were of the poetical, impressions
istic quality that comes when the lights are
drawn and the shadows merely suggested
Miss Edwards has done much work In the
more conventional oils One of her best known
pieces is the portrait of the late Senator Clay,
which was drawn for exhibition in the State
Capitol Always she has done portrait paint
ing before anything else, although the photo
graphs of her productions revealed a number
of decorative groups and panels.
"To me there seems so much greater an OPP
portunity to achieve character in portraits than
in any other kind of painting" she explained.
There is a story in physiognomy There are
worlds of expression which the photographer
can never grasp. The painter must know his
subject, temperament, tastes, ideas and all
Then a portrait can be painted that will say,
forever and ever, Here l am The portrait
painter must study his subjects character while
he studies the lines of face or figure"
Her collection includes the portraits of chill
dren of every age, young men and women,
young mothers and old persons Perhaps the
most difficult of all the portraits of the
young girls or young men, Miss Edwards de-
cnred.
Miss Edwards is in Atlanta visitor in the
home of her sister, Mrs. w. C. Lovett, 20 East
Merritts avenue. The young artist is native
of Marshallville, Ga, but has lived for some
time in Atlanta and Chicago. In Chicago she
acquired the large part of her training in her
work, studying in the Art Institute, making in
that city, also. her exhibits and doing most
of her professional work. ~s.- f.r
Atlanta Georgian. [volume] (Atlanta, Ga.) 1912-1939, 1913-10-12

of James Whitcomb Riley; the files Of The
Commercial contained not so much as a cOuplet
which seemed to have any connection with the
poet.
True enough there were poems there signed
with the romantic and classical "Edyrn," but
James Whtcomb Riley-the only mention Of
that name given in the news notes
The editors appealed to the poet himself, and
finally they dragged the truth from him.
AS a lad he had read TennysOn's "IdyIls Of
the King" and in the poem "Geraint and Enid"
he had come across romantic name! There
was one to whom the Fates had been kind
The name fascinated the boy. He liked to say
it, to roll it around on his tongue! SO what
was more natural than when he began to write
poetry and sought to have his early verses pub
liShed. he should select the pen Of
"Edyrn." the finest name he had ever heard.
Certainly his good tOWnspeople might hesitate
to read poems from the pen of the most mis-
chievous lad In the community. But a poem
from "Edyrn" They could not afford to forego
the pleasure of reading such lines.
And then it was the day of pseudonyms.
Samuel l.. Clemens was MARK Twain" Eu-
gene Ware had chosen to be known as Iron
Quill" Robert J. Rurdette was called the
"Hawlzeye Man" Edgar Wilson Nye was IA
miarly known as bill"
Hence Riley submitted his first poems to the
old Greenfield Commercial under the pen name
of "Edyrn." 1.-THE Same Old Story" the first
of his poems printed, bore that name. 1t
was lately recovered from the files of the old
Greenfield publication and will be printed for
the first time in book form in the complete
works. "A Backward Look" one of his well
known verses. also was among the poems Of the
"Edyrn" days.
In 1872 the poet dispensed with "Edyrn,"
substituting the signature Jay Whit" Nat
urally and justfably proud of his success, the
young poet desired to become a bit closer iden-
titled with his work. Yet he still feared the
Atlanta Georgian. [volume] (Atlanta, Ga.) 1912-1939, 1913-10-12

Riley had no time to go searching for pen
names, in the case of the Journal he con-
tinued to the name Of -. w. Riley" until
he should happen to strike something better;
used the name of John Q. Walker in the KO-
komo Tribune, for lie CHANGED to know man in
Greenfield. Ind by that name who professed
to be Il poet and was the perpetTatOr of a vast
amount of dOggerel which had appeared at diff
ferent times in the Greenfield papers and sim
ply headed his column of poetry in The Herald
"PoeticaI Gymnastics" and let it go at that
without signing it at all.
In going through the files Of the Indianap-
oils Journal, the editors Of the complete works
recently found that in the year 1881 he changed
his signature to James w. Riley" and poems
written under that name We're found at fire.
quent intervals in the files of The Journal up
to 1882
Also one poem, 1.-THE Ripest Peach" which
appeared in the Journal under date of April
II, 1881, bore the name of James Whitcomb
Riley. 1t was the first, according TO Mr.. Riley,
which he signed in that manner. He used this
signature he said, merely as an experiment,
to see what impression It would make.
In 1889 the poet wrote his famous collection
Of verses called The Old Swmmin' Hole and
Ieven More Poems" They appeared for the
first time in the Indianapolis Journal and con
stitute one Of his finest small collections Of
poems. These were signed BENZ. F. Johnson
Of Boone" BENZ. T. Johnson being an imag-
mary old farmer 20 whom the verse was
ascribed, and Boone" the county in Indiana
from which he hailed.
Recently the editors of the Biographical
Edition, in going over the poets papers, came
across a prose sketch which had lain hidden
there for years. in which Riley tells of his
imaginary meeting with the old farmer-pOet
as the old fellow sauntered into The Journal
office with his poetry under his arm This
sketch has never been printed and will appear
for the first time in the new edition of the
Atlanta Georgian. [volume] (Atlanta, Ga.) 1912-1939, 1913-10-12

TTAvE you ever heard of the poet Bdyrn?
II Do you recall the merry meters of Jay
Would you recognize the poetry of John @.
Walker?
Are you familiar with the verse of Benjamin
F. Johnson of Boone?
No? That's strange Yet the instant you
hear it, you know the poetry of James Whit
comb Riley; and Edyrn and Jay Whit and John
c. Walker and Benjamin F. Johnson of Boone,
even Jamesy O'Reilly, and ]. w. Riley, and
James w Riley-all of them one and the
Whitcomb Riley at one stage or another of his
remarkable career.
This disclosure was made only recently and
was the result of the search which has been
instituted in an effort to find the lost poems
of the great HoOsier, in order that the first
absolutely complete edition Of his works in
both prose and poetry might be published. The
investigation has led the compilers Of the work
into almost every State in the Union, but now
they believe that they have mearthed all of
the famous poets compositions still in exist
ence.
In all. more than two hundred poems were
found which had never been published in any
edition of Riley poetry which has been given
the public. The poems are in the main from
the earlier days of the poets career, but some
are compositions of more recent date, which
he had never given over for publication. All
of the newly recovered poetry as well as all
of the prose compositions found in the recent
search will be published in the Biographical
Edition. as the complete works will be called.
When the investigation begun all that
the compilers had to 20 on was some infor-
nation which tended to show that Riley had
begun TO write for publication about 1870 and
that his first poems appeared in the old Green
field (IndD Commercial Search as they
would however the editors and compilers could
find no trace Of any verse which bore the name
Atlanta Georgian. [volume] (Atlanta, Ga.) 1912-1939, 1913-10-12

has evolved a means of execution that is novel
and striking, being at the same time natural
enough. This involves drawing in white upon
a dark brown background. Only the white is
used, and only the lights are drawn. No shad-
ows. The effect is striking. The portraits take
on a spiritual tone, as If the ghosts Of the sub
jects were there delineated. And yet the like
nesses are truthful, depicting features and sig
nifcance of the subjects.
done so much with this form of work as Miss
Edwards. Probably no others have attempted
it. Some European illustrators have drawn
with a single crayon on a dark background, like
her revealing only the lights. But hers is the
first serious work to be done with the simple
materials.
At first she did 1t as a means of study, and
was struck with realization of its possibili-
ties. She was encouraged by her teachers and
went to work experimenting.
Much of her work was truly experimental at
first so that it is plain that the field was new.
The young woman found one difficulty in the
undesirablity Of the paper she used at first,
until there was brought to her notice a rich
dark brown paper that made admirable field
for the white lines. On the dark brown the
erayon seems even more shadowy than it is,
Atlanta Georgian. [volume] (Atlanta, Ga.) 1912-1939, 1913-10-12

even when she laughed at the cubists.
do you know" she said, in this connection
"I expected at least to find a sincerer note in
the work Of the new schools, but to me their
exhibits seemed merely a striving after SEN
sationalism and effect, with nothing sincere
about them They seemed merely funny
that the work Of Miss Edwards is trite and
conventional She is a portrait painter, and
Atlanta Georgian. [volume] (Atlanta, Ga.) 1912-1939, 1913-10-12
later Diggin' Time
by FREDERICK DAVIDSON.

ole Jack Fros stick his haid out de groun,
An he rink NIFTY stu at me:
II done EiH de leGues, hitch up ger ploW,
Hts time to dig taters," says he.
De IedUes turn pdIler an fIutter doton,
We pull up de kiUrer 10 day;
De poSsWnI fat in de 'simmOn tree,
"Hits time to dig taters" he say.
De chiIIuns gone to de cotton pdtch
Jes as hOHGrB as deg ran be,
Fur ydnIs to be rodstif in de fire,
When dey comes to supper, you see.
ChinQuapims drGppin, tointer mos here,
Eue'y year hits jes de same tody,
Whoopim' dem chilluns jumps out O. bed:
ives 0lciReter dig taters today"
Atlanta Georgian. [volume] (Atlanta, Ga.) 1912-1939, 1913-10-12

Kate Flournoy Edwards as she appears
in her studio and two portraits by her
showing the style she has adopted.
Atlanta Georgian. [volume] (Atlanta, Ga.) 1912-1939, 1913-10-12
After Studying in Paris Miss Kate FIournoy
Edwards, Herself Rising Portrait Painter,
Returns With Profound Respect for All
American Art, Especially That Of Dixie.
By CARLETON COLLIER,
NJ ISIS KATE FLOURNOY EDWARDS. be-
4Vl ing a very sane and natural young

los NATE FLOURNO1 EDWARDS, be
1V1 ing a very sane and natural young
woman, like most Georgia young wom-
en-, feels disposed as an artist to laugh at the
new ideas in art advanced by the cubists and
futurists and others of the freak schools
ITO me they are laughabe" she said. "and
not even sincere"
Miss Edwards is in Atlanta after a period
of study of art in Paris, and she has returned
with a profound respect for American art and
firm belief in the future of American art, par
tcularly its painting. To the American schools.
Also, she remains loyal, saying that In the
Chicago Art Institute, her school, as much IN
spiration and genuine instruction may be at
tanned as in the Wanted European centers and
institutions.
And, being woman, she feels that women
have a real part in the art of America that
they doing much and will do more.
women are doing real work in art here"
she said yesterday, "just as they are working
like men in other lines. Much of our best work
and permanent work is being done by women,
although it is a mistake to believe women are
better fitted by temperament than men to be
painters or artists in any sphere"
American women are doing more with paint.
ing than women elsewhere, she thinks, although
Englishwomen are doing good work.
Altogether, this young woman is very loyal
and patriotic in her talk Of her work
America is certain to produce great art"
she said, enthusiastically. There is character
In the life here and in the people, and in the
very land
II visited the salons and exhibitions in Par
is and was delighted with the superb finish and
technique of the work of French painters. If
we Americans only had that!
But except in few instances, the tech
nique was the only merit. There was char
ac5er, no robustness alr1 little sincerity in most
of the paintings shown. remarkable picture
was that of two hobby horses painted against
a curtain-superby done, correct and artistic
in every detail and vet typical of the present
day French art because it lacked character
and real inspiration"
"In America the life, the living, the spirit,
make character. That is why l feel the prom
Use of a great American art"
And the South, Miss Edwards thinks, is the
section from which artists will come-not all
the artists nor all the great artists, but maybe
large proportion of capable sympathetic ar.
fists
Because" she explained Here we have a
character and tone in living that is nearer
akin to romance and poetry. Here are less
keenly obsessed with the idea that money is
the only goal. Here there is a beauty of ma
ture and of seasons-and the inspirationaI ad-
vantages that are equaled nowhere else"
Atlanta Georgian. [volume] (Atlanta, Ga.) 1912-1939, 1913-10-12

Already she said the Southerners are max
ing themselves felt as artists.
They are wholesome, sincere, and work be-
cause they find the work good and not with
an eye on the dollar Don't you think so?''
And the question is an indication of the truth
of Miss Edwards statement a bit later, that
artists are rather humble people, not arrogant
Of their own opinions, nor fond of advancing
them. Everything Miss Edwards said talking
to a Sunday American reporter, was accom-
panied by the smiling qualification of ques-
ton or by the statement that the opinions were
merely her own, and not conclusive. But she
vouchsafed the opinions with an earnestness,
The Catholic bulletin. [volume] (St. Paul, Minn.) 1911-1995, 1913-01-18
THE OZANAM CENTENARY.

"The movement for the celebra-
ton on the 23rd of April next of
the centenary Of Frederic Ozanam
is becoming general on the Con-
tinent, - says the Liverpool Times.
"In Milan, where he was born, a
special committee which has been
appointed to promote it, has de-
cided to bring out a cheap edition
of his life, and in Paris, where
through his activity and his fear
less devotion to the faith his in
f1uence became so powerful for
good, the Catholics are taking
steps to make the commemoration
worthy of the man. The English
speaking people are about to enter
into rivalry with the foreigners in
paying tributes to Ozanam s mem
DRY. Nothing could be better than
that some project such as that
adopted at Milan for making his
life better known and the stimulus
of his example more widely felt by
the rising generation should be
initiated by his admirers. The
world needs today as it did in his
lifetime lay apostles governed by
the spirit that animated him. Too
often there is ground now for say
ing what was said to those around
him before he founded the Society
Of st. Vincent de Paul: You are
full of talk and theory, but there
it ends. Ozanam was no mere
theorist. He was essentially prac-
teal and was ready to make any
sacrifice in order that Catholic
ideals might be realized. "
The ST. Vincent de Paul Society
which Ozanam founded has done
a world of good in Catholic charit-
able endeavor, Wherever a branch
of this society exists it should
make it a point to observe the
centenary Of it's founder in an ap-
propriate way. Here in St. Paul
the society is fairly well organized
and some arrangement should be
made for the proper celebration of
the coming anniversary. 1t affords
the St. Vincent de Paul men an
opportunity to bring Ozanam and
his work before the public.
The Catholic bulletin. [volume] (St. Paul, Minn.) 1911-1995, 1913-01-18

Some of the ministers of this
city are on the anxious seat. They
are afraid that the novelty of a
creedless, social-service church
will attract some of their people.
In their last Sunday sermons they
endeavored to convince their peo-
pie that social service is nothing
new and that if some churches
have not devoted more attention
to humanitarian work it is be-
cause the church is unprogressive.
One of them declared that "the
church has never started any
great reform. Another said that
"every movement for the help of
humanity has had it's origin with
the church. It is hard to recon
Gle these statements. But, then,
we do not look for uniformity O.
teaching on any point among the
sects. AS long as "social service
or any other fad can be made
attractive it makes an irresistible
appeal to preachers whose one
great difficulty is to draw the
crowd. According to reports in
the press, the new social service
church was rather poorly attended
last Sunday. The novelty has
already begun to wear off.
The Catholic bulletin. [volume] (St. Paul, Minn.) 1911-1995, 1913-01-18

when the Church began to grow and
to extend to different parts of the then
known world, the Holy Father asso-
ciated himself with those Bishops
whose dioceses were in the vicinity
of Rome. Originally these assisted the
Holy Father in meetings, which were
later displaced by synods and these,
too, in the course of time were done
away with by the assemblies of Car
dinals, which came to be known as
Consistories. 1t was customary to de-
eide the more important matters in
these consistories. However, we can
easily see that such a method was
an unwieldy one. AS the volume of
affairs increased, various Popes began
to depute certain number of men to
deal with special cases. These spe-
c1al populations soon replaced the con-
sistories. 1t is here that we may say
that we have the origin of the mod
ern congregation.
1t can easily be seen that this sys-
tenn would do away with many delays
and would also permit specialization,
which, of course, tends to secure a
more accurate consideration of cues
TONS
The Catholic bulletin. [volume] (St. Paul, Minn.) 1911-1995, 1913-01-18
ENHANCING THE VALUE OF
PAROCHIAL SCHOOLS.

Last Wednesday evening the
members Of the Diocesan School
Board met at the residence Of the
Most Reverend Archbishop for
the purpose of devising ways and
means Of promoting the welfare
Of the parochial schools through
out the Archdiocese. Never have
these schools been in more -four
ishing condition. They are doing
excellent work and do not suffer
in comparison with any other
schools so far as the teaching Of
the usual branches Of a we'll
rounded curriculum is concerned.
The Sisters and Brothers in
charge of the schools are earnest
and self-sacrifcing in their de-
votion to duty and well
equipped for the work they are
called upon to do. The attend
ance is so great that the buildings
can scarcely accommodate the
number of children actually en-
rolled, and many more names
would be added to the register if
proper accommodations could be
furnished. The parochial schools
are handicapped for lack of room
and the different teaching orders
can scarcely provide a sufficient
number of teachers to meet the
demand.
Two subjects of Importance
occupied the attention of the
members of the School Board at
this meeting, namely, the teach
ing of music by note in the differ
ent schools under their jurisdic-
ton and the incubation of the
ideals of true politeness among
the pupils. Hereafter, these two
things will be especially insisted
upon in the parochial schools of
the Archdiocese.
No one will gainsay the value
of teaching music by note as
part of the school curriculum. 1t
trains eye. ear and mind to work
together in harmony and gives
the pupil better understanding
of the essentials Of music than
can be obtained when attention
is directed solely to singing by
The Catholic bulletin. [volume] (St. Paul, Minn.) 1911-1995, 1913-01-18
THE GUARDIANS" ON THE
RAMPAGE.

It seems that the so-called
Guardians of Liberty are still
in existence. Those who predicted
a speedy dissolution for this I'M
patriotic organization will have to
revise their prophecy. Since the
true aim and purpose of this
secret society became known there
has been trouble and dissension In
the ranks. Many of the men whose
names were associated with it in
the beginning have repudiated the
alleged connection on the plea
that they were induced to join its
ranks under false pretenses. Some
of the most active promoters have
withdrawn their support and are
now said to be engineering the
formation of another society along
similar lines which will usurp the
place of the parent organization.
The older society, however, is
not in a mood to "give up the
GHOST 1t underwent a reorgani-
cation last November and the
names of the new officers and
leaders are given in the first issue
Of the official journal which lately
appeared. They are: Chief Guar
dian, Lieutenant General Nelson
A. Miles; Chief Attorney, Rear
Admiral George w. Baird; Chief
Recorder, P. Corning Edwards;
Chief Counsellor, DIR. J. M. Buck;
Chief Vigilant, DIR. Thomas NJ.
Stewart.
The Catholic bulletin. [volume] (St. Paul, Minn.) 1911-1995, 1913-01-18
THE BIBLE AND THE DRINK
PROBLEM.

The Christian is supposed to dis
cuss the drink problem in the inter
ests of sobriety, says Father Lambing
in the Pittsburg Observer, and not to,
utter what will be, and what he ought
to know will be quoted to encourage
drinking and intemperance, as the as
sertions that it is no harm to take a
drink, and that the Bible does not
condemn drinking in moderation. The
latter is misinterpreted to mean that
the Bible recommends the use of
drink, and that If God had not wanted
the Jews to drink, He could readily
nave prevented it, as the government
was theocracy. But if the hardness
OF their heart was taken into account
in the matter of divoce, it mi~ht have
been in that of drink. There Is no de-
sire nor inclination to make it appear
that the Bible does not speak as
thought the use of wine was then as
common as the use of coffee and tea
is with us at meals. 1t was used, and
its moderate uses was not forbidden
unless in special cases. What is con-
tended for is that those who quote the
Bible, Christ, the early Christians and
Fathers, do not do SO in the interests
of sobriety but of drinking; and that
those who drink in moderation, Just
as those who drink in any way, en-
courage intemperance. Drink does not
make for virtue, but for the weaken
ing of self-restraint. 1t tends to invite
temptation, to make its approach more
easy, and its resistance more difficult:
and the drinker is not only less able to
resist the temptation, but less willing
to resist it. 1t is like the presence of
traitors in besieged city. We are
not called to be worldlings but to be
saints, and nothing is so much of a bar
to the entrance of the Holy Spirit into
the soul as drink. If one is required
to use the means necessary to attain
the end to which one is called, surely
one is required to avoid what tends to
hinder the attainment of that end un-
less there is some sufficient reason for
not doing so. One is not hired into a
vineyard to not destroy the vines, or
to sit all the day idle, but to cultivate
them as the owner wishes. If one de-
stroys them, he is punished; If he
idles away his time, he is discharged;
it is only when he works as he was
hired to, that he is paid.