davidaulloa/AmericanStories huggingface dataset:
Der Deutsche correspondent. [volume] (Baltimore, Md.) 1841-1918, 1915-09-22

(;sOrtietuns iiebe 6. Scitcl,
New-York tribune., 1915-03-14
FIFTY
"BOBBIES''

In reply 10 my request for particu-
lars Of the training qualifications nee
essary 10 become a successful police
woman, Miss Dawson informed me
that instruction is now being given in
drill. signalling, first aid. self-defence
(jiu-j -jitsu), the procedure and the rules
of evidence in police courts, and the
collecting Of accurate information OF
a detailed character with reference 20
the locality or district in which dutie.
are undertaken.
The uniform consists of short skirt
of navy serge, cut in two pieces, the or
binary service tunic with the usual
pockets and belt, high boots TO the
knee, and bowler riding hat. As
chief officer Miss Dawson wears peak
cap. Upon the shoulder OF the tunic
is a badge consisting of three brass
letters-W. p. while each member
Of the corps carries a police whistle.
AT first" said Miss Dawson, laugh
ingiy, "the lady copper came in for
great deal of chatF from the opposite
sex, but | must say that, although our
work does not deal so much with men
as with women, we have been treated
with every respect and consideration,
even in the toughest quarters. For in
stance, we do great deal OF work at
Grantham, where some twenty thou
sand soldiers are in camp, and. al
though at times we have had to call IN
the picket to deal with The rougher ele-
ment. the men can usually be persuaded
TO go back 20 camp and avoid trouble.
For some ineXplicable -eason, a woman
in inform seems TO have a unique IN
fIence over men, and, what is more
gratifying e US still, they recognize
our usefulness among our own sex.
"One Of the most curious requests
have had was from a widower, VINO
few days age asked me to come and see
what | could do with his daughter. u
self-willed girl who seemed to be get
ting out of hand. found her tract
able. and We are now the best OF
friends"
Such work, however. naturally needs
considerable diplomacy and tact. In
deed, Miss Dawson told me that the
real motto of the corps is Tact, inHnito
patience; do too little rather than too
much" and the members are chosen
for their ability TO deal with difficult
cases with tact and discretion. The
strictest discipline is maintained in the
corps. and there is no room for women
who wish to join II as a novel pastlme.
The organization" said Miss Daw-
son, "has been started in spirit OF
earnest and responsible endeayor, and
not with a view TO sensational effect
and amateur effort"
New-York tribune., 1915-03-14
On Justification by Works in the
Realm of Art.

For the student of Oriental types 1t
is doubtless profitable that Mr. Sterne
travelled in the East. His documents,
as such, have a value. For the student
Of art it is but a repetition Of the
story OF Gauguin. It is, of course, the
post-impressionis fashion 70 indulge
in oracular solemnities about what
Gauguin brought back from Tahiti. he
brought back, equally OF course, moth
ing that he did not take there-and
that amounted 20 very little. When
La Fargo visited the South Seas he
carried genius with him and on MS
return he was laden with stores OF
beauty that lasted him down TO the day
Of his death. And when we speak OF
his genius we mean not alone the in
defnable gift OF a great artist. but
thought and Imagination all interpene-
trated with purposeful ideas. 1t was
New-York tribune., 1915-03-14
THE IDEA AND
THE PICTURE
ouestions OF Subject. Of Technique and
Of Other Factors in Painting.
by ROYAL CORTISSOZ.

TOMORROW morning there will at the KnOeder
hlitr which for has pleas
ATTEST the advent of the Ten
American On Saturday the Academy forward
the Fine Building native work.
~ will peculiarly the
n par As collections Of high interest are
One Of them which ought
n that left by at the American Art
n will present diversified body paintings than at one
. might from this dealer
M he himself chiefly century English
m he vdened meeting surprise
M some remarkable painting.
VIII be awaited with
The Club annual display of oil paintings
m reception held night the opens public
v March The monthly
,. and MacDowen composed by
rbsa " Scott Isabel w. Kmba
Art Gallery paintings by three
trio consisting Ledyad Tovle Harold Phclan
fright Folsom gallery offers portraits paintings
sndt interpretations
,dOus exhibition gallery
on portrait by Robert segman gallery
extended 20 Marc
New-York tribune., 1915-03-14

tions every week from ladies' OF all
classes who wish to join"
"Do you think, Miss Dawson" I
asked, that women police will be u!ti-
mately officially recognized and organ
lied in the same way as the men
police"
81 certainly think so. For not only
have We been thanked by the military
authorities in the provinces for SER
vices we have rendered, but, as local
authorities in provincial towns are at
present discussing the advisability OF
encouraging women 70 assis. the police
force. we are aiming a. establishing a
training ground for those women who
later on may have opportunities OF
taking up police duties on a profes.
sional footing"
New-York tribune., 1915-03-14

Gus Gheeraerts she must have glanced
with a favorable eye, yet it is improb-
able that she ever actually gave him
a sitting. The license issued in ac-
.cordance with the terms OF the proc
lamation cited above was granted TO
George Cover, "our Sergeant Paynter,"
and every one else was forbidden TO
encroach upon his privilege, excepting
only Nicholas Hilliard. The point,
however. is not important. Gheeraerts
was wise courtier. He wreaked him.
self upon Elizabeth's clothes.
1t is for the light they throw on
Tudor costume that his paintings
are more especially to be considered.
OF the features Of his subjects, he
doubtless tells us something, but OF
their gorgeous trappings he tells US
more. We reproduce the famous court
painting of which he made two ver-
sions, the "Visit of Queen Elizabeth
to Blackfriars, June 16, 1900" II Is
characteristic bit OF that pageantry In
which the imperial votaress delighted.
Thus borne upon litter by six OF the
gentlemen OF her Privy Chamber, she
went to attend the marriage OF Lord
Russelps daughter Anne TO Henry,
Lord Herbert, eldest son OF the Earl
Of Worcester. 1t was a scene after
her own heart, and Gheeraerts painted
1t in precisely her decorative taste. He
painted it, we may note in passing.
much in the manner Of that formal
Dutch school from which he sprang.
He was a thorough paced mediocrity
was good Master Marcus. But there
his work stands, landmark, unin-
spired, no doubt, bu. still a land
mark, in the beginnings o. the Eng
lish school, and il is interesting there
fore to have him and his art re-
/ habilitated.
New-York tribune., 1915-03-14

not as a master draws, giving a rich
personal character TO his line, but ade-
quately. Then his sense OF form has
been strengthened by study, and he
knows how to simplify. so that n figure
of his is bodied forth in admirable
soidity and with the right synthetic
touch. Perhaps the best illustration of
this point in the entire exhibition is
the "Woman with Green Head-Dress."
Nothing could be more workmanlike.
Mr.. Stcrne's observation is clearly for
the essentials of form. and he notes
them with perfect manual dexterity.
New-York tribune., 1915-03-14
and a number OF picture frames carved
I by Herman Dudley Murphy.
4 Leading Figure in the Annals of Tu-
dor Portraiture.

To the organization few years ago
OF the Valpole Society, in London,
students of English art are already in
debted for some fruitful research s..
British painting did not really come in
10 its own until the eighteenth CEN
tury: nevertheless, long before Ho-
garth, there were men who are 70 be
reckoned as pioneers OF the school,
even though they were of foreign origin.
One Of these founders, Haunce Eworth,
New-York tribune., 1915-03-14

His color, too, in which he shows the
same reserve as in his modelling, has
just the quality Of color employed for
the precise statement of fact, and
nothing more. But in this efficient
realism we miss the traits which would
make it artistically worth while.
These pictures bear alluring titles,
such as "Temple Scene" Sacred Dance
Of the Elements "Balinese Drama"
and we look in them vainly for any
true allurement, exotic or otherwise.
The difficulty seems 10 be that Mr..
Sterne docs not discover any beauty in
his themes For a moment we think
that he IS on the verge of doing so.
II is when we encounter the sacred
Dance .of the Elements" and, observ-
ing the tangle OF forms in Il, wonder
if he had not some idea of trying to
do what Signorelli did in his frescos
at Orvieto. That master OF the nude
moved by the same passion OF form
which We have ascribed TO Millet, IN
vested the human figure, artistically
epeaking, with kind of magic. Mr..
Sterne does not do this. He leaves his
tanglc merely tangle. and an ugly
one at that. To find any merit in the
picture at all one must hunt out such
passages OF technical proficiency as we
have already glanced at in the woman
with Green Head Dress" They make
scant fare for the lover Of beauty. The
upshot Of it all appears 10 be that as
we have previously hinted. purpose IS
everything, thought and imagination
are the true solvents of artistic prop
lens. It IS not whore you go but what
you take with you that counts.
New-York tribune., 1915-03-14
can avail them nothing. The artist

can avail them nothing. The artist
must justify himself by his work.
What could it matter, for example, II
NJ. Pablo Picasso, or any of his parti-
sans, should attempt to explain pro-
duction like his Two Women" in the
exhibition now open at the Carroll gal
lery? Not all the words in the world
could fling a garment Of beauty over
those chunky nudes. And ". Duchamp's
Grinder l" and Chocolate
Grinder H." II. Villon's Machine Shop"
and the Calculation and Dance" OF NJ.
Ribemont- -Desseignes. Is there purpose
in these things, purpose Of any sort
explicable to the most open-minded
New-York tribune., 1915-03-14
ENGLAND'S
WOMEN

SNyHEN, in 1929, Sir Robert Peel,
wv recognizing that the Charles"
as the old watchmen were
called. we're almost useless for pro-
tecting the streets Of London, formed
an entirely new body Of men, upon
whom the nickname Of "Peelers," or
Boobies was bestowed. and when,
"Tit-Bits" says. was the nucleus OF the
magnificent police force Of to-day, he
did so entirely on his own response
biity, defray.ng the cost Of training
and equipment by voluntary contribu-
tions. when. however, the force had
proved itself Efficient and capable, he
handed it over to the Secretary OF
State. the government being only then
too willing to officially recognize and
maintain it.
What Sir Robert Peel did eighty-siX
years ago, Miss Damer Dawson, chief
officer OF the Women Police Volunteer
Corps. and her co-workers are trying
TO do to-day in the way Of forming a
woman police force.
IN America and Germany said Miss
Dawson. as we chatted about the move
ment recently in her Old World house
at Chelsea. women police have been
recognized for years, and have done
most valuable work. | met my first
policewoman at Frankfort-oa 1.-the Main,
and was astonished at the splendid
work they were doing. And the Women
Police Volunteers propose to demon
strate in this country the practical
value of experienced women as a pro-
lection to women and children, and as
a preventive of crime. At present
there are about fifty members Of the
corps, Of whom thirty are in London,
and | am receiving scores Of applica-
New-York tribune., 1915-03-14

of the painter who has his technique
tolerablv well in hand and yet falls
short of any .cally interesting achieve
mcnt? lie is. If anything, more of
disappointment than his i'll equipped
COLLEAGUE. This reflection is invited by
Mr.. Maurice Sterne, who has at the
gallery Of the Berlin Photographic
Company q voluminous collection OF
paintings and drawings made in India
and the Island of Bali.
Ordinarily the preface TO an exhibit
ton catalogue is negligible, as uncriti-
cal eulogy must always be, but in the
present instance Mr.. Birnbaum's intro
ducton to the work of this young
Russo-American artist contains some
information germane to our analysis
He tells us that Mr.. Sterne, having
been trained in the rudiments at the
Academy of Design and at other
schools. won a travelling scholarship
and proceeded to Paris. There he some
times copied the old masters, Mantegna
among them. There, TOO, he fell under
a.. :.euo,co If Gaupuin and Cezanne,
brt "be did not begin to find himself
until chance took him TO Greece" lie
hos varied also in Italy, and now, as
+bose ,,wor pictures show, we have to
reckon the East among the sources OF
bis devclopment. Is not the whole
record suggestive Of enviabie oPPor-
..u;,iosq What tremendous gains, we
ra+urejlv saw. should an artist not re-
,o.l of.cr euch travels? But there IS
nothing talismanic about travel IL all
6cno,5s uDon the compass you take
with YOU. upon the purpose at the oacA
Of all your effort. And purpose mere
is incx.ricably associated with thought
with imagination.
Neither the thought nor the imag'-
nation needs to be of the kind implying
literary end. The artist IS under no
obl;ration 20 tell story. But there
: one responsibility which he cannot
safelv cyade-he must make his work
hoartiful. That is where Mr.. Sterne's
o,urass appears TO have betrayed him.
He has not painted his pictures with
.,orobt with Imagination. He has
rainted them in the light OF that ny
notbesis which used TO go by the name
of cart for arts sake" with the result
that he gives US at the best mildly
;Dterastinr bit Of technique. Alb that
fortiIiz;ng influence which is to be in
forred from the biographical data we
have cited above resolves itself into
nothing more nor less than a stimulus
70 do a little clever painting. Mr..
Sterre is indubitably clever. He could
draw well, even earlier in his career,
New-York tribune., 1915-03-14

blinded b. the fervid testimonials Of
his admirers. Think Of the pancgyrics
that have been bestowed upon Matissc
and his like In these hectic days,
when new movement" is hiding be-
hind every tree, it is well for the dis
interested observer 20 keep his head.
lie need not be tcrrorized by the post
impressionists, if only he will put their
works to the test of few simple and
searching questions. The first and last
of these What do you mean ?"-
would be answered quickly enough, on
the very face of the canvas, so to say,
if the new masters" meant anything,
or knew, themselves, what they meant.
Indeed, written and spoken argument
New-York tribune., 1915-03-14

was rescued from obscurity by Mr..
Lionel Gust, writing in the second oil
the annual volumes published by
the Walpole Society, and now, in the
third, another is made better known
This is Marcus Gheeraerts The younger,
who is credited by Mr.. Gust With q
leading role in the development Of
Eizabethan portraiture. Numerous ex-
cellent illustrations make this study Of
the subject very entertaining.
The great Queen, as every reader Of
her splendid history knows, was not by
any means above the vanitics of this
world. Her 7assi for her wardrobe
is one of the best remembered of her
minor traits. And she was particular
about the manner in which she was to
be presented to p sterity, as Mr.. Gust
thus shows:
As carly as 1868. Eliz- beth issued a
proclamation of considerable length,
speaking of the demand Of "all sorts
Of subjects and people, botn noble and
mean." for portraits Of the Queen as
national desire, and stating that owing
10 complaints and the unsatisfactory
results in "Daynting, craving and
prvntyng" as to the natural represen-
tation of Her Majesty's person, favor,
or grace" the Queen had been recon-
mended to sit only 10 "some special
coming paynter" to make a portrait "to
be participated to others for satisfac-
tion of her loving subjects which
first portraiture."
Mr.. Gust remarks that it is not clear
if this proclamation was ever issued,
but he says the purport Of it is con-
frmed by a statement made by no less
a parsonage than Sir Walter Raleigh,
who declared that "by the Queens own
commandment all pictures by unskil-
ful and common painters were knocked
in pieces and cast into the fire" We
can imagine the choler of the formid-
able lady when some dabster failed to
do Justice to her charms. Upon Mar
New-York tribune., 1915-03-14

not enough for him TO record facts Of
form and color lie had to raise them
to a higher power by the process Of
making them his own, the vehicles for
the expression of style. Above all,
he had in his mind and at the tips of
his fingers feicitous conceptions of
design. Besides making studies and
portraits he made pictures. He did
not copy. He created.
In the absence of constructive power
,leverness is of but little worth. II
has landed Mr. Sterne in an impasse,
a fact to which we are in no wise
New-York tribune., 1915-03-14

lovers Of art7 n so, the artists in ques-
tion have yet TO make it plain. There
are a number of credible, IL not very
particularly interesting, things in this
exhibition-a South Sea head by Gau-
guin, still life by Van Gogh. some
views of London By Derain containing
vivid color, and a figure by Picasso,
"The Guitarist," which at least shows
technical adrotness. The rest is frantic
stuff. The post-impressonist, cubist,
philosophy is terribly persistent. 1t
tries nightly to enforce itself. But
somehow it is forever reminding US Of
what the wit had to say about the
bruiser who wanted to prolong the fight
after he was beaten: mike tried to
pull himself together, but. he couldn't
do it. He was too far apart"
New-York tribune., 1915-03-14
The Conservative Impress.onism of NJ.
Albert Andre.

The Conservative lmpress.onism of NJ.
Albert Andre.
The followers of Claude Monet have
usually been disposed to paint in high
key. They have let the sunlight into
their pictures in Goods Not so NJ. AL
bert Andre, the painter whose works
are shown this week at the Durand-
Ruel gallery. He has been influenced
by Monet and by Degas. Also he has
been influenced by Corot. Moreover,
these diverse elements in his artistic
makeup have been charmlngly har-
monized He knows, stakably, what
he is about. A painting of his has a
sterling unity. On the other hand, if
he has escaped the confusion sometimes
incident 70 emulation of several mas
ters, he has not quite achieved style
OF his own. These landscapes, in
teriors and studies in still life are full
Of truth; they tell US much about
nature, but they tell US little about NJ.
Andre. The point of view reflected in
them is significant of a clear vision, Of
good taste, of a feeling for quiet color.
1t is not particularly signifcan. Of per
sonality. We are not sure that we re-
gret it. One Graves originality in art,
the confident, affirmative force; yet one
can do without it when pictures are so
sincere, so charming, as are these OF
NJ. Andres. And one quality he has IN
such rare perfection that almost 1t
might be counted unto him for original
ity. 1t is the quality OF pure, difused
light. The atmosphere in which he en-
vclops his still life is like the atmos-
phcre in a Yer Nicer This is one indl-
cation, by the way, of an authoritative
touch in his art hardly associated, as 4
rule. with a painter so wanting in the
distinction Of style. VI. Andre may not
be the most individualized Of artists,
but he is deeply vcrsed in his craft.
There is a lot of sheer good painting
: in his exhibition.
At the Enrich Gallery there is an
agreeable group of six or seven old
masters, interiors by Uchterveldt, lie
Duca and D. Hoogh, and other designs
by Jan Steen and Benjamin Cuyp. Best
of all is the little full length Of Ter
borch, the Portrait Of Lady" II is
a DELIGHTFUL illustration OF old Neither
landish elegance and polish. In the up
per rooms at this place there is an eX-
hibition of paintings by Florence v.
Gotthold and May y. Washburn, two
artists who achieve. both in much the
same wa r.. some pleasant effects OF
color, but in respect 20 technique have
still to develop their abilities. The
Little Gallery is makin6 an exhibition
OF enamels on metal By various artists.
New-York tribune., 1915-03-14

..,.-- .,,b;o.+ ,s s,b.
*'! D0eS o" "' '''' N''''' '' ''-
s'i.ng to his theme: IL is an ola
,...iOn, which in all probability Will
,,vsr be cOnc,usirely answered, but We
,r tempted once more to discuss it
.7 two exhibitions lately opened in
uv York. One Of them, at the Mont
s.s Gallery, Is made by the American
ain,er, Nr. Horatio Walker, long ia
wrsbly known FOR his pictures OF
s.:ls and Of rustic types. The other,
4 the Braun Gallery, presents for the
:n; time in :h.s country the work Of
Spanish artist, u. Pascual Monturiol'
1ao pOr,rays more particularly the
a,.ring man Of his native land. Both
zen are dedicated in an unmistaAable
a,xnty TO what we may call the
,,,Dsl Of the soil. They are realists
for whom "tno human Interest IS a
constant factor. What DO they sc,
IRON It? What 30 they make Of 1t?
Nr. Walker, We gather, studies ms
-s,ersl in quite Unconditional man
rI. He has a strong sympathy Tor
the humble farmland or he would not
80 steadily choose him for a model,
su, he sees nothing dramatic in the
!srnhand's world. Neither did Millet'
il has often been asserted by artists
md critics impatient Of the philosoph-
al profunditfes attributed by sentl-
nsa.a!ists 10 the famous Frenchman.
sathe fac. remains that Millct's peas
rs repeatedly touch the Imagination
Trough the pathos they express. 1t
10. the sole source Of their effect
spsa Us a. viii presently be shown,
t., that II is 3 source Of effect, and a
r:s one is an obvious element in the
uis.s fame w~ Walker makes moth
,g or next 70 nothing. Of character,
q gesture. His plouchman, moving
nth uplifted arms beside the straining
u,5. ,s IN b;nsolf no more than a
l,turescye s1bouc+,o Movement is
/, the tbemo yc+ the picture has a
arOus ;ronobiI-+v The subject. as
nbiect, hardly interests us at all. We
us thrown back upon treatment, pure
aa simple This is as il should be,
stordine 70 the bvpothesis Of the
Egdios. vet 8. does not altoccthe~ set
a.the matte Though we have moved a
sep forward in the argument We have
still 10 find out what the treatment
dynifes. I, sirrifes. in Mr. Walkers
ease, an odd disproportion in respect
70 The cardinal qualities Of form and
"lor This is a LARGE. retrospcctiye
ahibition Of mis- works. and one can
ss. from j. a pretty exhaustive idea
u bis talent That talent would seem
'e rather for landscape than for the
'''h 50 much devotion. The beautiful
Picture which we reproduce. the new
Shepherd and Sheep Morning pro
New-York tribune., 1915-03-14
does not cross the line which divides
the well trained journeyman from the
creative artist.
The Question Of Purpose In the Work
of a Painter.

More than once of late we have hnd
occasion 10 touch upon the distinction
between the artist who is trying for"
something and the artist who achieves
It. laying stress upon the weakness of
the former type. If he fails it is, as a
rule, because he does not know how to
use the tools of his trade. But what
New-York tribune., 1915-03-14

-" francois Millet and His Latter
Day Followers.
y On this rock Of form that the
Pine Bluff daily graphic., 1915-07-11

New York July 10enz Hard enberg the courtyard the Tombs a
 
  whereupon 1ardnberg
 
  Il
Pine Bluff daily graphic., 1915-07-11

"The Seven Seas"

The phase "The Seven Seas" has been current for some time--was SO current when Kipling universalized 1t nearly twenty years ago-to denote ali the great waters of1the earth. Its use divides into seven parts the "tripartite ocean (the Atlantic, Pacific, and h. dian oceans) as the North and South Atlantic, the North and South Pacific. .he Indian, the Arctic, and the All tarctic oceans. It is interesting to note that Roman Italy had it's seven seas," the chain of salt lagoons about the mouth of the Po separated from the Adriatic by strips of sand or em tankments. The lagoons were in an- cient days much more extensive than uow, and the "Septem Maria afforded continuous means of internal navi- gation from Ravenna to AltinumL
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