davidaulloa/AmericanStories huggingface dataset:
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17
National League.
At Chicago

AT ChIc2so- r. n. z.
Brooklyn >. .. -. .. q 6 5
lineage IL !
Batteries-Alton and Miller: Pierce
and 8resnahan: umpires Rigler and
Emsiie.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17
National LeanuA.

At Chicago. /: Brooklyn. 2.
At Pittsburg. 0: New York. ?.
At Cincinnati, /; Boston, 0.
At ST. Louis, /; Philadelphia, 0.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17
Chicago 3. PHILADELPHIA 4.

At Philadelphia R n. E.
Chicago :, :. :. - 49, - IS 3 4
Philadelphia ....4 3
Batteries-Benz, Jasper and SchaIk:
Wyckoff and Schang; umpires Hill
derbrand and OLougf1lin.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17
BASEBALL RESULTS.
South Atlantic League.

AAt6AEEtS League
At Columbia, 2: Jacksonville, /
At Augusta, 4: Albany, 5.
At Charleston, 1; Macon, 3.
At Savannah, 3: Columbus, I.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17
National League.
City League.

Read what J. S. Roberts
says on page z.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17
MONEY TO LOAN
We have 100000 to lend

on improved city real estate,
at low rates ranging from
6 to Sc, l to 5 years, in
amounts of $500 up Esca1n-
bia Realty Co.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17

Of sympathy. Of sincerity. Of kindII-
ness, Of humanity.
Yes, our hearts grow cold and hard
and selfish; yet ONE TOUCH or MA
TTRE MAKES THE WHOLE
WORLD AKIN
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17
Blanks Chattanooga;
Mobile Wins From Nashville

Observation-Disclosures, Sage and Benis,
Styles, Mcintyre and Adams
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17
WOULD NOT REFEREE
FIGHT BY JOHNSON
BY ASSOCIATED PRESS.

San Francisco, May 15.-James W.
Coffroth, the prize fight promoter, re
fused today from Jack Johnson, the
haau,vxUairh+ ~hap1piOn to referee the
Johnson Moran fight in Paris, June p.
Coffroth pleaded business interests
that would keep him at home.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17

Memphis 2-3, New Orleans 3-3.
At New Orleans r H r.
Memphis .. . .. .. - 7 .
New Orleans .. o.. %. .. B 3
Batteries Steele and BeInis.
Weaver and Higgins; Umpires Pfen-
ringer and Rudderham.
Second game r. H =.
Memphis >. .. - - .-.3 6 I
New Orleans e. - .. e. ....3 10 e
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17
Southern League.

At Atlanta r r. r.
Montgomery - =. =. A u
Atlanta e.. D., o.. o. II z
Batterfes-Black and RleinoW: Per
ryTnan and Dunn: umpires KERN and
Breitenstein; called ct end Of eighth
inning.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17

Philadelphia o, ST. Louis I.
At St. Louis r. H f
Philadelphia =. - =. %
St. Louis =. - -. II o
Batteries - Alexander and Doom.
Doak and Snyder; umpires Orth and
Byron.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17
Boston Wins From Detroit Tigers;
Washington Defeats Cleveland Maps

ST. Louis I, New York 2.
At New York r, H L.
St Louis . . .-..1 5 .
New York .. :. --..2
Batteries Mitchell and Ruuler;
Fisher and Sweeney; umpires Chill
and Sheridan.
Cleveland I, Washington 2
at Washington r. Fl. E.
Cleveland IL 8 0
" Washington ~
Batteries-B1anding Collamere and
Carisch; Johnson and Williams; UNI
pires, Deneen and Connoly.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17

Get Eastman films today
at The Crystal Pharmacy.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-17
BA SEBALL
I hree Shut Out Games in National;
Giants Again Wallop the Pirates
New York 2, Pfttsburq o.

At Pittsburg- r, II. r.
NSew York =. =. =. ..2 8 0
Pittsburg % .
Batteries - Tesreau and Meyers:
Cooper and Gibson; umpires KLEIN and
Hart.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

covers, hunting horns and the IKE.
Decidedly. this first room augurs i'll for
anything like a swift concise account
of what follows
Between the Byzantine enamelS aai
worries Of the first room and the mcdl-
gval works i'm the same mediums which
belong in the next one t is hard 10
choose-and harder TO hold close 10
those threads of development which
have been kept in mind in the orgon'-
cation Of the exhibition. Some lite
hint of the threads in question We may
offer the reader i'm directing his atten-
ton to the fourteenth century French
diptych in ivory which represents the
CruciiXiOn. Let the student. barking
back to the grand simplicity Of the
consular diptychs. look closely 10 the
minute realism Of the later French
master and consider also the increased
richness of his ornament. Not only IN
the forms but i'm the faces he will dis
Germ an infinitely subtler power Of eX-
preston. The faces. indeed. are fan IS
modern i'm their emotional significance.
As for the ornament it marks transi-
tion from what we might almost call
monumental sculpture TO the plane of
the craftsman, even the jeweller. 1T
is as exquisite as lace The change
where the enamels arc concerned *
q. toIx oil
1t has been said of the master enam-
elers that they used melted glass a.
though it were paint. Applying to on
subject the light afforded by that say
ing we may still attribute to the earlier
cnamellers a more plastic. more arclii-
tecturally decorative motive than. that
characteristic of their successors.
Their work is of very rich MASSEY
quality. I'm the Middle Ages the tri-
umphs of enamel take on bhtne p
glow. a lighter, more transparent tone.
The Morgan examples cover a wide
field. from pieces of bold and weighty
design 10 others illustrating the utmos.
delicacV i'm the treatment both of
enamel and Of metal. But tho. essential
beauty of the whole Wilderness Of rel
iquarics and similar instruments of re-
igious ceremony is the beauty of color.
We say nothing of the rarity and per
lection of these pieces. Matters of
provenance. the little historical details
which add 10 the interest OF the sub
ject must all be postponed. But We
cannot forbear speaking of the peculiar
atmosphere which belongs to these .wo
antique" rooms. The ideas Of the
pagan and the Christian worlds meet
within their walls The grim and hate
full spirit of Egypt, the faunlike lowell
ness Of Greece. the proud materi2lisn
of Rome. wildly touch our magma
ton. yet do 50 only TO throw US back
with kind of relief upon the tender
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

sellino and Donatollo and the stately
altar piece by Raphael look down on
matters and the like which have MOTH
ing monumental about them whatever.
There are many miscellaneous objects
i'm this room. all Of them Of considera-
HE interest. but it is the majolica
which makes the Drawer show, glorious
pieces Of Castel Durante and all that
noble ware which joins TO charm ~
color the fascination Of pictorial ana
decorative design developed with IN
amazing fccundity and audacity.. Tie
makers of this stuff dared anything IN
their pictures, drarhatizing scene out
Of classical lore as lightly as when they
covered their surfaces with full-bodiad
ara besdues Pause 'ere TO recognize
again the debOnair wilfulness Of beauty
pushing its way through the humdrmn
needs of everyday life. These platters
were made TO bear fruit TO the table on
them. was heaped up the country gen
tleman's ordinary repast, but they were
made as gorgeous as the shield aud
buckIer of some fastidious bravo gong
TO war as to n dance The majolict
forms the last for a little while) of
those groups of objects which represent
each some particular phase of artistic
cndeavor I'm the next two rooms the
carvings. enamels. articles of jeweIry,
worries. pieces Of plate and so IN make
too bewildering an array for US 10 at
tempt even the most curSory descrip-
ton. These arc the rooms which cel--
bratc manual deXterity i'm countless OF
it's aspects. the passion Of the hrmal
race for personal adornment and the
readiness of the craftsman 10 reduce
tile mystery Of his guild To its mnutese
terms. After all this interesting but
somewhat cloying preciosity the. 40
rooms full of French furniture open. 50
to say. upon wider horizon. The cpl
thet is not incompatible with that at
tention 10 detail which marked tie
French designer of the eighteenth con
fury He carved the leg Of a table
with a loving care, but he saw that
table as whole and. what is more. he
saw it against its proper background.
Mr.. Morgans tables, chairs, cabinets.
clocks. settees. screens. carpets and
tapestries, one by one invite admira-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

spirc the Renaissance sculptor. I'm one
instance You will find q master of the
period. Lorenzo Vccchietia. depicting
The Resurrection" i'm RELIEF small in
scale but grandiose in feeling. In an
other YOU will ind q craftsman of the
school of Sansovino modelling "a door
inocker with - brilliant % touch. and
leaving his work. when all is said, no
loss thrilling from the purely artistic
point of view.
The very form and movement Of an
historic period the familiar taste Of "a
whole society may bc studied in this
loom. flied with nominally msensate
metal il is ON This warm. colorfui.
vitality of the bronzcs that We would
particularly Ian stress The school
from which they proceeded was allied
through newly k'ndlcd sympathy.
with cnssical ideas of form. but il was
too coulitut with the strongest kind of
Individuality. too saturated in the
thoughts and emotions OF its own time
and place. 10 fall upon an academic in
tcrpretation of antique precedent II
remained realistic to the core and its
most ambitious Illustrations of poetic
o. religious themes are, i'm essence.
studies from life. That is what gives
such poignant interest TO these bronzes.
what makes them so racy in character.
and. by tn. same token. So powerful in
respect TO modelling. They could make
t'icir work very suavc. very lovely.
these brilliant Italian sculptors, bur
chiefly they We're veracious and strong.
IL is amusing To reflect for moment
ON what they gained. and what they
lost. compared with the artists at whose
works We have glanced in the first Of
. the Morgan rooms. They never recapt-
ured the majestic simplicity of Egypt.
/ the divin" beauty OF Greece. and to
that extent they suffered loss. But
making their appear with puissant
force To- tine world in which they lived.
dri"ing M truth and at ~ kind of ex-
hilarating mdcst-iG. they gained "a mo-
biHty. a suhtlety. and "a dramatic fire Of
hich tie carver of an ancient Roman
diptych for example. neyer even
dreamed What "a leap. too. did they
make from certain hating stages OF
medieval craftsmanship, I'm the same
room with the bronzes there are a mum
berof those early aquamanilles in which
the metal worker OF the Middle Ages
appears to have oscillated between the
inspiration of the sculptor and that Of
The purely decorative designer They
are charming. in their way. these awk-
ward yet picturesque objects. But a
great gulf divides them from the easy
mastery # the Renaissance. Their
golden surfaces. once doubtless re-
splendcnt look dun enough beside the
cleaning patinas of the Italian magi-
clans in bronze
Thus far i'm our pilgrimage We have
necessarily had much to do with form.
This motive persists to some extent il
the larger Of the two Renaissance
rooms but here the fine reliefs by Ros-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

ganctities Of our own faith. new
comprohonsion goes with us as We pass
from the SphinX-liSe images oi an
tiouitv to the Madonnas and other "e-
votional figures of the medieval crafts
mon Yet there is visible unity per-
vadinr this pell-inell Of precious Things
brought from the ends of the earth. the
unity Of artistic beauty OF eloquen.
line and form. of softly burning color.
Uenccforth we are in the sphere %
modern art alone and peculiarly 50 as
we turn to the Renaissance rooms. II
is i'm the first of these that one would
stay longest if one had The choice. APP
probation of Mr. Morgans Italian
bronzcs might quickly exhaust all OF
the supcrlatiVcs of criticism. Here re-
calling the experts to whom ne vas al
WAYS turning for advice. we autOmati-
cally divine the friendly Intervention
of Or. Bodc. whose fdir for Renais-
sancc sculpture has been pretty nearly
unique. Whatever the help To- he re-
ccived MIR Morgan seems TO have come
upon scores of the finest bronzes in the
world Again ". mourn the absence
of catalogue and wait impaticntly
for the appearance of that handbook
TO the collection which should make it
"A simpler matter To Indicate this or
that masterpiece i'm the long array. II
is the variety and completeness of this
special collection which. aided To the
nncness of individual examples. make
t 50 extraordinarily impressive.
Henaiseancc' sculpture. Flor"ntinc
Paduau. Venetian. but above ALL
Florcutinc. nourished like some incf-
fable growth i'm nature. The masters
were numerous. and they raised up.
rhrong Of disciples whose Collaboration
in the workshop was wcllnigh ms e.
fectivc as was their own genius. There
was. apparently. no limit to the plastic
rcsourccfulncsS of that period. While
Donatcllo and the rest were filling the
world with independent statues. great
works i'm the round ON monumental
scale. they were laboring hand i'm hand
with the architect. adjoining innumcr-
able buildings with rcli,fs and other
ornamental sculpture. and as though
this were not enough they were per-
pctually pouring forth their figures in
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

hibition contains some specially nota-
BILE pieces. ever and over we think Of
Mr.. Morgan's prodigious good fortune
His busts and statuettes are eXast|
the things TO 20 with his furniture.
Having assembled these flawless aD-
pointments for room. these incom-
parable sofas and chairs. having found
a clock TO GO with them like the great
masterpiece of Berthoud, the gods al
lowed him to hunt down such radi-
ant group as the cupid and Psyche
OF CIodion. In other words, TO CO..
lection of eighteenth century French
decorative objects fate adds the ore
terra Gotta i'm the world that ought TO
be associated with them. miracle OF
sentimental elegance, of flashing, So
phisticated art. Could felicity in the
experience OF a collector any fur
Their go?
The FragonarGs and the roomful OF
miniatures bring the art Of painting
into the foreground. We have said
nothing about the paintings in the
other rooms. fol they have all been seen
hitherto and have already been eXhaus-
lively dealt with in The Tribune. 1t Is
enough to note now trait they are seen
IA greater advantage than ever before.
being scattered through the collection
and given. in each instance plenty 81
space. We hope that when the panels
from Grasse are seen next week there
will be ar least a few pieces of French
furniture in the room TO help toward
the creation of that intimate atmo-
sphere which t'ragonard had in mind
when ne produced the paintings II Is
an old story that he lavished upon this
series Of decorations all of his most
personal feeling. all the poetic enthu-
s;asm that was i'm his sunny soul
sylvan and even 1owery background
runs throughout the set His pretty
figures go through their graceful and
romantically playful motions as IN
garden under cloudless sky. where
'crly the low ,utcs Of love complain.
AlNuNAHA ~ A4AiE' itiAAAAtl-' ~ 'NAA
view of Tie Frasonard exhibition opened
in town not long ago. we spoke OF the
special contribution which they make
TO our knowledge of the artist. II
resides i'm the peculiar tnish and en-
yelope which ne gives 10 his work. A.
a rule. both in his easel pictures and IN
single decorations. Fragonard paints
with so headlong brush. puts 50 much
elan into his work. that ne seems to
have neither the time nor the taste TO
fuse his tones beyond "A certain point.
An adequate fusion * always there,
but II stops shon of the point TO which
he pushed the Grasse panels AZ that
point he achieved what can only be
designated as full-rounded bloom.
t5nality as soft and d. firm as tho tone
cn perfect plum or peach. How he
must have labored over this bewitch-
ing group of paintings. How he must
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

1quity and its marvellous decorative
taste. In the absence of catalogue
il is not possible TO follow here any
convenient process of reference. We
can sisnalize only in . general way the
gearing Of these rarities We note, for
example. the types of Egyptian realism
ia the bronze cats thosc eeric memo
iials of Pasht. Look at the life size
image of this sombre mysterious beast
ma observe first the incised detail and
lien the powerful simplicity of the
-cnlpture a. a whole. We might cite
Icr instances but this bronze is, per-
ha Us. for our present purpose sutii-
.lent clew to the many relics Of antiq-
uity i'm the room. \ simple realism
Nae. the note of those earliest crafts
men. II crops out Significantly again
a. the ancient ivory diptychs, which
great families gave 10 their kinsmen IN
.ommcmoratlon of important occasions.
nd newly appointed cousuls offered IN
thc same way TO the Emperor and.to
friends. Decoration makes its way into
these designs. but always discreetiy
Tho carvers had something OF the feel
ing Of the sculptors They did their
dainty work in a large manner if we
may risk tho seeming contradiction of
'C'ns. Conspicuous among the worries
n this group of antiquities is an
stounding throne doubly astounding
because Of IT'S perfect state of preserva-
iion There are several of these royal
'cats in the world. hur mono that we
Know Of more beautiful than this one.
unless il De- perhaps. the great chair
ot MaNimisn, at RaNenna. which sur
'asSes II, of course. ia the mxuriancc
oi a. carving once more as we lngor
in tins room we are touched bv the
humor latent in our enterprise. II is
uulo more than impossible. IL is fairly
'u1snfd' 10 traverse the items I'm this
Jiasic of art one 10y one. 1t will be
necessary TO come back 10 the collec-
Hon room 10y room. on many other oc-
easionS Yet ii IS hard To leave Mr..
Aofgans antiquities without pausing.
saF, before that marvellous old metal
mirror Of his the dish Of bronze upheld
by winged figures above "A grave female
genius, encircled by little running ami
mails care they. pcrchancc. images of
The 9rmine Of chastitye) and sirinount-
ID finally by another winged crcatur.
'n a. strange crouching attitude This
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

TO the room, or vice versa and in the
journey we are aware of the fact that
this essentially social art is "all Of
piece" that line. texture and color
worked toward common end. Note.
too. how the wall decorations. Tie
paintings and tapestries, complete the
grand scheme and how whep piece of
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

loucn than is elsewhere exercised and
containing. besides the multitude OF
tiny portraits. rare French tapestry
and several eighteenth century paint
'ngs.
The first room may be said to en-
brine both the plastic genius of am
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

piece alone would fetch the connoisseur
mrrying In tho Museum. Bpt even IT.
We more over IL our eyes wander L" the
fragments of some ancient charger
harness. miraculous i'm their delicacy'
and near by there are more worries OF
incredible nnencss and beauty. book
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

bodys putting such masterpieces of art
to ordinary uses There is a superb
bronze in this collection which at first
glance one takes for a sacrihcial urn
or some such solemn uten~ii. II turns
out to be a wine cooler. There are rich
baskets which were fashioned mercl,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15
TIF MORGAN TRF AS RES ARE NOW INSTALLED IN THE MUSE

sculpture is brought into the room L
is becomingly small i'm scale and in
it's light graceful contours falls in
stantly into perfect adjustment TO
its surroundings Of wood. metal and
fabric We must add that
the sculpture in this section Of the ex-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

have c'ressed every inch .. =.
vas' And yet he respects n. =
Of the whole and leaves ,bs, ts
spontaneous in its spirit, !,
in the light swing Of the A.. = =
the pure radiance Of u.
though ne We're painting ~
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

little" These are the figures of the
Morgan collection. religious subjects.
nudes having some neurological sig
nifcance, equestrian groups and pieces
which we would call articles Of utility
if it were not hard to conceive any
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

ton: but the particular lesson enforced
by them all is the graceful harmony
which broods over them.
1t is at bottom decorative. or per
haps we should say architectural har-
mony. We proceed from the tabOurct
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15
Continued from frs, page.

French and German porceLius and the
collection Of watches The only re-
raining space which We have to men
ION is that given 10 the miniatures.
DOM properly decorated with a lighter
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

To- be cast from him in an hou, \
gonard's time abounded in men ., \
zling talent who were almor II
lievably industrious and who m j
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

as inkstands. and one Of them. by the
way. is set amid several figures. the
group cnactins the martyrdom of Saint
Lawrence. The most commonplace
phase of Renaissance life does not seem
to have been too commonplace TO in
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

Of them-scores upon scores
which we may call absoluief =
sentative of the eighteenth Q
Turn back. for example to w
tontinued 90 seventh Pze
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-15

Continued 90 seventh pAs'
Decorah-posten og ved arnen., 1914-09-29
mtarnnnn.
1~tIpg9cli9t Tmno bcS Sim Wropc

fpDNSsSs ~ Stu \VAOpV
: Sfogen npr CHM 8rope ianotes
forleben 2iget af en- ,ificnot Manb,
og oct er iibcn life lpffeoes Iutorite-
terne at opflore bnem ban cr. MIt
hnao fanotes bos bam bar 26 Gents /
Een9e % en- tom, enfeItlebet Sagl.
bcsie. Siget bor iiprt en- iimpel fort
alGonirg % peieoe on1trent 100 Eo.
2aarlist Suriitaar. GaSiagertro.
fifen ira Superior oper Sc 1tore Sno.
flyer afiluttebes forrige ltge, ga Mn.
forlinienS iioite Camper aigif meo
Tasiogerer ira Buffalo oa mellem-
liggcnbe Steoer. gnbre 2inier al
illlttcOe Sarten allerebe for flere Tiger
iioen. og Sliriittrafifen cper Sc itore
Siloiieer bar inar pGret alt onbet en0
lonnenoe for Oe forifiellige Camp.
ibsielifaber.
StriSise Stalicncrc. On StaIiencr
peo Napn Salippa GobeSco blep forle'
cen Nat ifilot % eiebliffelig brp6t /
oct itnlienife &pnrter / Waoiion, men
huem ser oiinrebe oct ornbenoe Sfllb
bar Tolitiet life pTrct iItanb til at
opbage. ut Sen ialone SpolGnoing
pnr forbcrebt poa np9et al bpcrt frerl'
git berof. at Ser / hans 2ommer iano.
ties en- labet &epolucr pg en- ifarpile.
ben Slagterfnip.
%il beSc Tcsicrinacn ON &irlp.
Sc Observation-Disclosures / Slbfpib, Ser
bar list Cab peo Sc hpppige Sper.
iponmleIIer longs @olf og Sor &i-
per, icrbereoer iommcn meo "Sor
Hiper &untinq & Sliding Glib" Ell
9lnisgning til &rigsoepnrtementct on
at iperfiptte Iaabanne Irbeioer, Der
mlnntte bare en- mere normal %anb.
ltnno tiIfslgc. NGpnte SCREENING or
irrlia intcresieret, ga Sen eier ON.
trent t,500 NcrcS 9onb mcllem Obj
fob % @inneconne.
Milwanfecs Sniferc feitcr. Gen
paa Spoiioen / Wfilmalfee pprcnoe
Narf, ser bar pGret lInoer Irbeioc
BELT iioen 1899, blep forrige llge for.
melt oabnet mcb Ell al Snifcrrc for-
o%nltaltct &irmeis- set. s Tarfcn par
ser brffct ct @oro ian langt, at 300
Tcrloner puo en- p1 famine Sio fun-
Sc iiooe ~tilboros, % moo at betale II
Gents fit man i'm Sallerfen fplot mco
Surfaal, Eotetesialot, Elunt5cr og
9eperppIic. Spoiiocns screenings.
mGnb hapoe Tor I~noleoningen ifprt
ii0 hpioc 6orflroer og bpioc @lter,
% Sc foreitpo Iaopel SilbereoclIcn al
Sc fraitiQe Setter iom Sppartnlngen.
Meo posien0e N(iitano ira De longe
@orbe par onbrnqt ilere MlilifforpS,
Ser ipilleoc unoer Maoltioet, og eiter'
puo palieoe man Eor Tor Ear opef
ben life oItib iepnc men BOG rllllllne'
lige broloate @ooe.