davidaulloa/AmericanStories huggingface dataset:
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-11-30
Pensacola, st. Andrews and
Gulf Steamship Co.
Steamer Tarpon =

FIRST CLASS PASSENGER AND
FREIGHT SERVICE
Between
PENSACOLA MOBILE, APAIACHi.
COLA, cARRA6EILE, ST. An
pREWS, PANAMA CITY,
MlLLvILLE.
And All Points on st. Andrews Hay,
CarrabeIIe and Apaiachlcofa
SCHEDULE:
Leaves Pensacola, sunday $3.50 p. m.
for Mobile, Ala.
Leaves Mobile, Monday, 500 D. m.
Leaves Pensacola, Tuesday 500 o. m.
for St. Andrews, MIlivIiie, Apaiacficola,
carrabeiie and intermediate points.
r. j. REAGER,
General Freight and Passenger Agent,
Pensacola, Fla. Phone SIS.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-11-30

Would Be Novel
Bryan coming to visit. Pensacola
How about giving him a ride on an
airship.-St. Andrews News.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-11-30
THE FIRM HAND OF WASHINGTON.

..t1sss ry .rod under the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

the National Sculpture Society. lie
writes as follows:
Dear Mr.. Cortissoz: In your remarks
at the Architectural League dinner last
night you gave the impression TO me
and to others that the sculptural OBJ
jects those tons Of plaster should
better be kept out Of the exhibition.
You spoke Of your primary expectation
OF finding at the Architectural League
exhibition architectural drawings, and
that other exhibits rather interfered
with your pleasure. | sympathize with
you in your capacity as art critic and
connoisseur. We should clear up
the important point you raised last
night as TO the proper scope OF the
League exhibitions. II the co-exhibition
of the arts of architecture, painting
and sculpture in the Fifty-seventh
Street building, and perhaps elsewhere,
appears undesirable from an artistic
point of view, it might be well to look
into that question and take steps TO i'm
prove matters, if the situation is found
to be wrong at present.
We sculptors-I might say all sculp-
tors-have come to regard the League
exhibition as the one important oppor-
tunity for showing our work. In this
we have been encouraged systematical-
ly for the last twenty-five years by
those who guided the Leagues policy.
We were of the opinion that the art
world, as whole, approved of our par
ticipation, and that for this very alli-
ance the League exhibition has become
of greater consequence than perhaps
any other exhibition, where sculpture
is shown, on the entire continent.
When | hastily Intercepted you at
the close of the dinner you replied by
giving the advice that the sculptors
should arrange separate exhibitions of
their works. Quite apart from the
question whether art interests would
be better served in that way, I can
state that it has been tried in several
almost heroic attempts on the part of
the National Sculpture Society, but it
has been found to be impossible to give
regular exhibitions in New York. Per-
NIT me TO give you the reasons and to
state briefly our experiences.
The galleries of the Fine Arts Build
ing, the only available exhibition
place, are leased Tor the entire sea-
son to successive exhibitions-the
dter COlOr CIuU, Tue NdllOIdl hCdue-
my and the Architectural League. No
dates are free when another society
could wedge in except the hot months
in midsummer. The owners of the
galleries have Furthermore told the
Sculpture Society that the exhibitions
which we had in the past, before the
present leases were arranged, caused
such a wear and tear on the property,
by reason of its unitness for the in
gress and installation of heavy objects,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

theatre" by Carrere and Hastings is
highly picturesque on paper, and any
such colonnade would be found to look
fairly well in fact. Its swelling lines
could not but be impressive. A great
deal depends, however, upon the
physiognomy given to work Of the
kind. The problem is how to break
into the circle. The entrance portico
in this case is curiously unconvinc-
ing. 1t is affixed to the circle, IN
stead of being made an organic part
of the latter, and as it is not very
interesting in itself the result is
doubly disconcerting. Over and over
we receive this mixed impression from
buildings undeniably designed with
power and judgment. Another good
illustration is provided in the George
Washington Memorial" by Tracy and
Swartwout. Even while we recognize
the austere beauty Of the vast pill
Jared front we sigh for a treatment
of the wings of the FACADE more
in keeping with that stately portion
Of It. We make q transition from Ro-
man grandeur to kind OF pinched
simplicity. In the long run we enjoy
the design not as q unified thing, but
for its one heroic colunnsr passage.
II is. by the way, the classical infiu-
ence that rules among the public
buildings, in those we have already
cited and in the few other good things,
such as McKim. Mead and Whites fine
Museum" at Minneapolis. Maginnis &
Walsh's Regis High School," and the
al. P. Morgan Building" by Trow-
, bridge and Livingston. This last gets
| its value from an suHiiiapie au'u''
rert Of line and mass, reinforced by
the most discreet possible sppiica-
,;o, Of ornament. Almost, but not
ouite. one finds it little CHUNKY"
Rut this reflection vsnishes. One ends
,v re,pecting. il not precisely de-
lighting in, its stark simplicity.
7, that safe quality resides the
salient virtue Of the show There are q
few outbursts Of romantic feeling and in
ons building-the Church Of St. Vincent
Ferrer, by Mr.. B. C. Goodhue-isis SO per-
.orsI and so brilliantly successful that
Gothic is made to seem the most mod
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

but New York is an impossible field for
US. The Architectural League offers
the only, though inadequate refuge.
Very truly yours, KARL BITTER.
New York, Feb. 6, 1915.
The lover Of architecture, we believe,
will go on wishing for more architect
ure at the Leagues exhibitions, and less
sculpture-if he has to choose-and
this not because he is indifferent to
sculpture, but because the League show
affords the only chance offered in
year to see the collected work Of the
architects. From the facts stated by
Mr.. Bitter it is plain that sculpture
could not be altogether excluded by the
League. Whether some compromise
might not be effected-as, for example,
by the enfor reed substitution Of small
models for the "tons of plaster" which
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14
NEW AMERICAN
ARCHITECTURE
me Annual Display Of the League-A
Plea for the Sculptors.
BY ROYAL CORTTSSOZ.

the interest this
Rio Nobody pnds all that be- But people
90 on buying pictures Cke
.e rugs refreshing fashion Then
pretty affairs Especially welcome have been the
,ea support given The miniature Academy held
gallery the fund for which was
not admissions paid but the sale OF paintings and
The Sargents Moorish Courtyard is
the Daniel gallery Of the landscapes
been bought by the Metropolitan
The prospect grows every Nevertheless would
s negligible field who terribly in need
4 assistance
V attention fact the Art Alliance OF America
Of functions contemplated by Its
There nothing aateuh about this organization 1t wants
IN practical the artist who has picture to sell but
-,. craftsman of chance in
Thus the a plastic art who for three
had nothing there requiring him
,,. commission of sauary who could
~ r,nded jobs to those
deal with objects! the houses Of New York there
ou,nt paintings cleaned and restored porcelains
ewelry ovhsuled All the city there
, which advantage The list might easily be
would little in expenditure those
than, but whom they ntusted At the Offices
Alliance Street the and addresses of
who This will gladly be supplied We
the campaign only their interest but in that Of the public
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14
The Place of Sculpture In the Art Life
of New York.

In the exhibition at the Fine Arts
Building the works OF the architects
are concentrated in one of the three
galleries. The rest Of the space IS
given to sculpture and decoration. Corn
ment on this side of the show will later
be made, but in the meantime 1t is
perhaps worth while to touch upon the
questions raised by the apportionment
of the srea-none too large-at the dis
posal Of the League. To the present
writer, earnestly solicitous Of wider
public appreciation Of architecture as
an art, 1t has seemed unfortunate that
the works Of sculpture and decorative
painting should have steadily increased
in the Leagues exhibitions, so that lat
terly they have more than filled the
foreground. The development Of this
point in a speech made at the annual
dinner of the League, has brought out
some interesting observations on the
subject by Mr.. Karl Bitter, president OF
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

On Friday last Carolyn Beebe, the
concert pianist, who has a studio at
Steinway Hall, completed her Brooklyn
series of morning musicals at the home
o Mrs. George hoffman, 1876 Joralemon
Street. Miss Beebe was assisted by
Gustav Langemes, first clarinet of the
New York Symphony Orchestra, and
Paul Kefer, yioloncellist, in a pleasing
programme Of ensemble works,
Miss Elizabeth Sherman Clark, who
in private life is Mrs. Edward Fielding
Elkins, gave a reception to Dugald
Stuart Walker, the illustrator, at her
studio, SO West Seventy-second Street.
A musical followed, at which several of
Miss Clark's pupils sang.
An examination and concert by pupils
of the Maxim Music School, 20 Mount
Morris Park West, will be held in AGO.
liam Hall on Sunday evening, Febr. airy
81. The examining board will consist
of artists well known to the public. The
opening address will be delivered by
Professor william A. Crane.
Constance Hulsmann and Gordon
Phillips, pupils of Miss Antoinette
Ward, pianist and teacher of the Van
Dyke Studios, Eighth Avenue and Fifty
sixth Street, gave a successful piano
recital in the Lord & Taylor Music
Room, Chickering Hall, last Wednesday
afternoon.
The 150th free organ concert of the
popular series under the direction of
DR.. William C. Carl will be given in the
Old First Presbyterian Church, Fifth
Avenue and Twelfth Street, tomorrow
evening at S:l5 o'clock by Katherine
Estelle Anderson, A. A. G. O., organist
of st. Paul's Methodist Episcopal
Church, Peekskill, N. Y, and post
graduate Of the Guilmant Organ School
Walter L. Bogert, chairman Of the
music committee of the Mcdowell
Club, announces an informal musical
gathering in honor of the Australian
composer, Percy Granger, next Tues
day evening.
Messrs. Carl Helm and August
Fraemcke, the directors of the German
Conservatory of Music, at 304-308 Madi-
son Avenue, announce that owing to
the great increase in the work Of the
vocal department Of their institution
they have been obliged to increase
their staff by the addition Of Kurt Ras-
quin, who has had notable career in
Germany as an operate barytone and
who will now conduct classes in con-
cert and operate work, including both
the vocal and the histrionic sides
William L. Mueller, a native OF Day-
export, Iowa, who has been studying
vocalism in New York City for the last
two seasons, will make his first metro
politan appearance at a concert to be
given under the direction Of Marc
Lagen early in March.
The Bertrand de Bernyz Operation
cert Oratorio Society Of New York. or
ganized to aid needy American talent
and to give public performances OF
grand opera and classical music, gave
concert in Studio Hall on Saturday
afternoon.
An afternoon of song will be given
by the pupils of Mrs. Griffin Welsh in
her Brooklyn studio, 80 Cambridge
Place, on next Saturday afternoon at 3
o'clock.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

sS,Hfht. on the Present State OF
American Architecture.
fh,signihcance of an exhibition held
!, n. Architectural League lies pc
AIRY in the broad impression that
.r,ysys. 1t is in some sort an index
a ne condition Of the art of building
; he United States. Traversing in
mi the show now open at the Fine
ls Building, rejoicing over good
;xn and sorrowing over q bad one
N observer cannot but feel a special
i,,,r,st in what can only be described
u tn. average. He looks for the gen.
rsl characteristics developed or de-
slsping in this or that branch Of the
IT. for ideas Of style, for the growth
spme kind Of authority in the treat
,r. Of given problems, On the pres
4. occasion certain phenomena "jump
Z II. eye" II we are to take as con-
I.sive the evidence offered in this
ambition the skyscraper, whether Of
ss building or apartment house, is in
I n.her sorry state. There are at all
rents few examples on the walls OF
t,sign, lifted above the commonplace.
s.rs. Griffin and Wynkoop have un-
uiIisksbly been feeling their way tow
I'd something fresh and distinguished
Il their competitive drawing for the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

a little garage TO design, as in the
Park Avenue instance (No. 1877 Of the
catalogue, they can be very clever and
smart" using their French classical
motive with the right touch. But when
they must erect huge affair like the
Apartment Houses: Park Avenue" the
best that one can say for them is that
they are not vulgar. That is much, in
these architectural days, but it is not
enough.
As regards the building which is
massy in scale and specifically monu-
mental into the bargain, it promotes
similar mood of smiable apprecia-
ton rather than enthusiasm. The
great Arlington Memorial Amphi-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

IL is at least sound and that some
times has charm. Witness the engag-
ing Italianism of Mr.. Grosvenor After
bury's Parrish Museum, Southamp-
ton" The Georgian tradition is visibly
abroad Messrs. Cram and Ferguson
have been a trife heavy handed with it
in their Second Church Of Boston,
but have used it, on the whole, to good
purpose. Generally speaking, our archi-
tects are now so at home with the Colo
NAL idea that they hardly fslter as they
work it out in designs for private
dwellings. The number Of good houses
in this style is too large for US to cite
them all in detail. Aymar Embury, Z. D.
Litchfeld, H. T. Lindeberg, McKim,
Mead ard White, Peabody, Wilson and
Brown are among those whose build
ings give pleasure. The note in all this
mass of intensely American architecture
passes, too, through many phases, from
the manorial stateliness Of Mr.. c. A.
Platt's Entrance Portico, James Par
melee's Residence, Washington" to the
homely, almost farmlike quality OF Mr..
E.nbury's Residence of II. B. Clark
New Canaan" Throughout the point to
observe is that Colonial" in American
architecture is not so self-conscious as
it once was. 1t is more Of a natural
iGiom now, employed with a more hexi-
bic, more intimate feeling. Looking
back over many years OF League exhibit
tons, we realize that the country house,
at any rate, is friendlier than ever,
more obviously the fruit of an intelli-
gent purpose to make beautiful homes
in a simple, unpretentious manner.
The urban architecture shown this
year is not, in the main, imposing.
One city house makes a persuasive APP
peal, the French mansion erected in
New York for Mr. Geraldyn Redmond
by McKim, Mead & White. Though
the facad,s have no special distinction
the high pitched roof is Joy in itself,
a rich jet of audacious design in what,
when it comes to the roofs of New York
dwellings, is but sea of prose. As we
pause with a sense of refreshment be-
fore this episode we are made aware,
by the force Of contrast, of what it is
that makes this exhibition, as a whole,
not altogether inspiring, not altogether
satisfactory in the light it throws on
the question with which we started.
The condition of the art Of building in
the United States is doubtless excellent,
judging from the many works mere
shown But il is not very interesting.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

and we are as keen as he is upon ths
interests Of American sculpture when
we do not want 10 look at architecture),
we gladly make him a present OF the
admission that the League, even in it's
most generous mood, cannot provide
the space that he and his colleagues
deserve. That is, indeed, one OF the
corporations Of the Leagues e1hibi-
tions. Architecture, sculpture and
painting, with other Of the ALLIED
arts" are so crowded together that
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

deficit OF over $4,000, caused by an
attempt to use Madison Square Garden
for our exhibition purposes. Armories
have been tried, but they are deficient
in many respects for exhibitions Of
sculpture, and cannot be secured with
any degree of regularity. Some years
ago, on behalf of our society, | ap-
preached the trustees OF the Metro
politan Museum, with negative results.
II is a deplorable fact that our large
city cannot boast Of a single building
which would, under practical terms,
give admission and shelter to the works
of our profession. We have gone 70
other cities, Baltimore, for instance,
and are now arranging a representa-
tive exhibition in the city Of Buffalo,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

we have often found in the way of
other exhibits-is not so obvious. But
we will not split hairs with so reason
able a correspondent as Mr.. Bitter.
The particular point of his interesting
letter lies in what he has to say about
the poverty of New York in exhibition
facilities for his profession. Examin-
ing the problem from his point of view,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

that they could not entertain large
sculptural exhibitions. Even at the
Architectural League show we can
bring only tons of plaster" because
the tonnage of marble and bronze
would be so much greater as to be
prohibitive.
l can assure you that we have not
lacked in zeal in our search for other
suitable exhibition places. | Justify
my statement that we made heroic eff
forts by quoting that our small So
ciety had, for instance, to defray a
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

son, the inept dabblers in Romanesque ?
But an exhibition of buildings is pre-
cisely like an exhibition of pictures.
One searches in it for the vivid, au-
thoritative expression of a personal
gift, for the work Of art as distin-
guished from the pot boiler. To miss
II is to mourn it, even though sur
rounded by productions of which no
one concerned need be in the least
ashamed.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

the commercial architecture OF the
day. But for the precious quality Of
invention, OF new and beautiful design,
we continue TO search in vain. The
tall building still presents a battling
problem. Take, for example, the work
Of Cross & Cross. When they have
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

they all suffer. The remedy, We fear.
lies on the knees Of the gods. Would
an early summer Salon, out OF doors,
somewhere along Riverside Drive, with
pavilions built OF staff. answer the
need? That, too, would require money.
Meanwhile the situation sketehed BY
Mr.. Bitter constitutes q shame and .
reproach to the City Of New York. The
painters have never really demon
strated their right TO ask for the vast
permanent exhibition building that
every now and then is urged upon us
as a necessity. That the sculptors are
justified in sgitating for some proper
environment in which to show their
works cannot for a moment be denied.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

La Fargo and Morris registers slight
advsnc. upon tn. nondescript formula
prevailing in work of this kind 1t
has dignity. Perhaps in the good taste
which is here displayed, as it is also IN
the Lord and Taylor Building by
s,srrett and Van Week, we have the
most valuable indication Of progress IN
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

issr Market Court and Jail, bot one
stly tesls that they have succeeded.
" monolithic effect Of their scheme,
snsntsrily interesting, smscks OF the
Vicious tour de force when one
stss an effort Of the imagination and
I" the thing in stone. We are the
's's disappointed because this same
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

firm gives a very good account Of it.
self in the "Pierce-Arrow Building"
at Long Island City. Save for some
uncertain and teasing touches about
the corniee this design discloses
strong grasp upon an important prob
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

1t does not reveal much originality, or
II that is a debatable phrase, much
creative power. II is astonishing, even
alarming, to see how many architects
can turn out perfectly good, and per-
fectly dull, designs. In that entirely
respectable safety" Of theirs we may
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

ern OF medieval styles We note with
gratitude how individuality comes into
its own. This is a genuinely vitalized
design For the rest it is scholarship
and taste, not emotion, to which we
owe the better productions exhibited.
They are traits assuring US architecture
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14
AT MUSIC STUDIOS.

Frieda Roberts, who was well re-
ceved in Brahms's "Standchen" in the
second act of "The Cure" presented by
the senior class of the American Acad-
envy of Dramatic Arts at the Empire
Theatre, New York, on January %, is
a vocal pupil of Anne Stevenson, of
Carnegie Hall. Henrietta Hurwitt, the
young Brooklyn soprano, is filling many
engagements.
Mrs. Simon Baruch, who is a leader
in musical club life and is patron OF
Nine. Emma A. Dambmann's musicals.
named her choral club Southland
Choral Club" at the last musical at
home, given on Saturday afternoon,
February 6, at the Hotel Calumet, $40
West Fifty-seventh Street. The pro-
gramme on the occasion was well ar
ranged and afforded pleasure to large
audience. Miss Rosalynde Snedeker,
who sang the solo part in the choral,
"My Old Kentucky Home" was parti"u-
larry well received.
Guglielmo Garrison, teacher of sing
ing, gave a recital at his studio, The
Severn" 10 West Seventy-third Street,
on Thursday last before an enthusiastic
audience. Miss Media Humphrey. was
the solost. Signor Enrico Scognamlgllo,
the 'cellist, assisted Miss Humphrey
and rendered one of his own compost
tions, "Canto Marinaresco." Signor
Gaetano Scognamiglio, who IS the ac-
companist of Enrico Caruso, was at the
piano.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-14

Miss Elizabeth Sherman Clark, who
in private life is Mrs. Edward Fielding
Elkins, gave a reception to Dugald
Stuart Walker, the illustrator, at her
studio, SO West Seventy-second Street
A musical followed, at which several of
Miss Clark's pupils sang.