davidaulloa/AmericanStories huggingface dataset:
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-05-03

-...-.-. UNCLE 81
Solicits your support and
viii appreciate your vote,
because
I have always worked for
Pcnsacola's interest.
| have proven that / have
business ability.
Ny integrity has never
been questioned.
/ have the best interests
of Pensacola and her people
at heart.
] believe in encouraging
industries and the protection
of home labor.
/ believe i'm a square deal
and justice 20 al.
/ believe i'm a progressive
and economical admiuisra-
ton of public affairs.
I believe I arm fully cana
bic of performing the duties
cf the Office.
OIL not be gncumbered
With any political alliances.
fraHs ArsarsIssmta-f
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-05-03
fs'ERGckN RED CROSS en-
RESERVE FOR TIE NAVY

WASHINGTON. Hag & The American
Red Cross BIAS asked @. A. acIlvaue
Il Ea.HuH shtH chairman ~ the
Panama che ptcr 81 report IL outside
8id wers reGuired Ter the suffers ~
.he f.re 90 Caioa
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-05-03

Life e. allied with ups and downs. II
nnything more downs than upa Your
downs VII hs smoother and your aps
oftener II sou enjoy the comforts that
come from the use 81 AMMENss
PRiCKLY HEAT 8 BABY POWDER
rs cents at your druggist (AdV) )
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-05-03
WOULD CREATE oil
TENDER or GOOD OFFICERS

Washington. May 2-To create a
frnieum reserve Tor thu ray. Sec
retary Lane has recominender 20
resident Wilson that re set aside
a0ao acres I'm Natrona county.
8N1minE
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-05-03

regular and was
tired and sleepy al
the time, would have
cold chills, and my
hands and feetwonld
bloat Ny stomAeh
bothered me- / had
pain IL my side and
e bad he's ne most
81 the time. ydia
e Pinkham's Vege-
table Compound has
lone me lofa az GOO
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-05-03
WILL ENTERTAIN
The CIVIC LEAGUE.

Mrs. Walter Taylor ~ No 1fns =
Ninth avenue and Mra. }. q. Perkins
viii entertain in g social at the house
of the former Tor the Civic league Fri-
day afternoon. There win be music.
games and refreshments.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-05-03
The Journals Want ad
Way viii get you results.
STALLED MOTOR CAUSED
CAPTURE or AtRnAN

Milan. Via Paris. May la motor
which stalled suddenly while be was
&.e0o feet ~ the air was responsible
Ger the capture hy the Germans Car
res, the famous French aviator. ac-
cordlnW e. copy ~ the Kriegs
NeitunR 81 the Fourth German array
received here
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-05-03

Special Sale-Eowin Clapp
500 Oxfords. Amy style,
S5.25. Meyer Shoe Company.
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1915-05-03
WOMAN IN
BAD CONDITION
Restored To Health by Lydia
z. Pinkham's Vegeta-
be Compound.

Montpelier. VI - I'VE have great
'sith ii your remedies. vas very ir-
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

suggest the morbid imaginings OF a
OF a nightmare, are examples, one is
informed. of the art" of African saw
ages. And these in~disputably TWEEN
tieth century productions which divide
attention and vividls contrast with
them are not, as might first be sus-
pected. mechanical drawings of some
new and strange machines. hut the
very latest cry in New Thought SYM
bolistic art. Huge with
great shape.ess masses OF glaring
reds. blues and yellows; pencil draw
ings Of apparently meaningless lines
and geometric figures: paintings of
distorted and anatomically impossible
human figures-all excite bu slight
curiosity or amusement until We learn.
to our humiliation, that we are privi-
legged to be looking upon masterpieces
of that New Art" which has made
"29i' tor has "29l'' made it?) famous.
Not the creations alone OF the ultra
radical school grace this inner shrine
of Modern Art. Some of It's foremost
opponents are here in person. Among
those To be found in this back room
almost any day just now. eagerly ex-
pounding the ideals and principles of
their aesthetic creed. are men whose
names are. TO believers in the anti
Photographic" theory of art. what
Rubens. Rembrandt and Nelasquez are
to the lovers OF the old masters. Here
is Francis Picabia. a foremost repre-
sentative of the "cubist' school. whose
sensational productions two years ago
startled New York-as they previously
had raris-and aroused a Juror OF
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24
An exhibit of Viennese photography at "so1."

Entering the narrow hallway.
becomes aware Of a poster bearing
a faded golden nj Internationally
Of some indecipherable symbolic sig
nlhcance-and the information photo
Secession. Fourth Floor A tiny ele-
vator-which n enters. IL weighing
over a hundred pounds. with SOM
trepidation-whisks you to the attic.
Turn to your left. walk half a dozen
steps, turn to the left again, and
here you are.
The "place' 10 a little attic room.
about twelve by fifteen feet. lighted by
a large skylight in the ceiling. The
walls are covered with a light gray
material which looks like cheesecloth.
Around the ROOM. about four feet from
the floor. runs a narrow ledge. from
which soft hangings OF some dark
brown material reach to the floor. The
centre Of the room is occupied bs a
square boxlike arrangement covered
with the same brown cloth, which
looks like an altar. but apparently
serves the more prosaic function OF a
seat. On this is a large brass bowl
allied with leaves and grasses. A
white screen suspended below the sky
light serves to give the room a dif-
fused. even. white light. Even when,
as just at present, there are no art
exhibits here, the room itself gives a
most artistic impression.
This Dom Is the Little Gallery. as
it has been for the past ten years.
Behind it Ia another and somewhat
larger room, a more recent addition.
Here is the inner shrine, where gather
the initiated to discuss art. literature.
life. whatsoever may tall within the
scope OF their various and varied in
terests. A first view OF this room ap-
pears to strikingly confirm the con-
tention Of its inmates that "2Sl' Is not
an art gallery. One Is first inclined
to hesitate between the alternatives OF
a natural history museum and an
engineers draughting room.
Thos grotesquely carved wooden
heads and figures, which irresistibly
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

In any OF the constant discussion
with the eyes of a dreamer and a deep
lined face eloquent Of struggles. mate
rial as well as spiritual-is Walkowitz.
an American representative Of the
movement in its most advanced phase.
who paints in pure lines and colors.
and unlike some of the others doesn't
even claim hat his pictures represent
any object outside his own mind.
Not artists alone constitute the
strangely assorted intellectual fellow
ship which gathers in this little
salon" At almost any time OF the
day II is sure to find in this back
room writer's whose names are familiar
to the leading public Of New York;
literary critics. art critics. business
men with an amateur interest in art.
or Photography, or literature. labor
agitators, society women, workingmen
Representatives of every nationality.
every class Of society. every shade Of
belief. all find in this place. which they
call for want of an acceptable defni-
ton '29l.' some subject OF common
lntercst-and discussion.
Let us fix cur attention. however.
amid these ever shifting groups Of CO.
lehrites upon this slight. middle aged
man with the b,rHHy gray hair who
seems to be everywhetc at once. enter
ing into every conversation yet
always keeniy ~observant. Ha Is the
~"persdn," the secon member OF this
trinity called eel" He. however. UNI
like the place and the symbol, has a
name, Alfred Stieglitz. Scarcely a per-
son to be picked out Of a crowd a man
Of middle age and average height.
slightly built, with thick iron gray
hair and short bristling gray mus
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

we're Clarence White, Joseph Kelley.
Eduard j. S%teichen, Gertrude kassi-
bier, Anne Brigham and others whose
regulations are now firmly established
in the field OF pictorial photography.
Fol the fIv. few years Of its existence
the Photo-Secession had no headquar-
ters or exhibition ooms. until in the
autumn Of 1905, to All this want. they
encouraged and aided Mr.. Stieglitz to
open the Little Gallery.
Eduard j. Steichen, photographer
and painter, who has ever since been
Mr.. Stieglitz's chief supporter in this
venture. had n studio at 291 Fifth ave-
nue.. Next door to him was a small
room tnow the Little Gallery which
he induced Stieglitz to come and look
at. A twelve by fifteen foot attic
room previously occupied by "A tailor
as a sweat shop, with twenty peop.e
and their machines crowded into its
small compass, dirty. covered with
spider webs. overrun with mice and
vermin, such was the place which AL
fred Stieg,itz was to onver into an
artistic and intellectual centre. 1t may
be easily conceived that he had need
VI All HIS DOu1ultsS enthusiasm d1u
imagination to visualize this room as
ii was to be and has since become. But
Steichen promised to do the interior
decorating. Mrs. Steichen sewed and
draped the hangings and a few other
faithful enthusiasts helped. Between
them all they converted the disused
sweatshop into one of the most Hs-
thetic spots in New York.
Here the Photo-Secessionists pro-
ceeded to make good their claim to
recognition as artists. The individual
exhibits of the camera work at "29l"
attracted the attention of the art
world and did much to forward the ar
tistic development of photography. In
January, 1908. after two years OF these
experiments in the Little Gallery, at
the now historic exhibition Of contem-
porary art in the National Arts Club.
where pictorial photography was
shown for the first time in America
on a Level with paintings and etchings,
the portraits and views by Steichen,
White, Coburn. Kelley and Stieglitz
were quite generally (and by more
than one art critic) mistaken for meZ-
zotints, ctchings or reproductions OF
paintings. so incredible did II seem
h a such work could be done with the
camera.
Having demonstrated that photog-
raphy could be art. Mr.. Stieglitz quite
naturally began 10 take an interest in
h movement started 10y some of the
younger artists to divorce art from
what they deem the proper sphere of
49,.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

T1FrH avenue between Thirtieth
and Thirty-nrst streets is
scarcely the first place where
Q New Yorker would seek one OF
the seven wonders Of his city. . Yet
there are many persons-including
more than a few whose anne are
not unknown In the world Of art and
hterature-to whom POI Fifth venue
IL the principal attraction Of a visit
70 New York. And to many others.
scattered ove three continents. who
have never seen the metropolis this
address is a Mecca toward which turn
their thoughts and devotion and to
which they fondly hope to make a pill
srimage before they die.
The name Of the shrine az has been
given several) is forgotten or avoided
by its devotees. Perhaps because any
name unavoidably implies a definition.
and no two persons a agree on a
definition for this place-so they COM
promise on a number, which is neu-
trail, and call 1t simply "29l." The art
critics call IL the Little Gallery OF
the Photo Secession. or. when in more
unprofessional mood. the Little Gal
lery. But its familiars insist that It
10 not. primarily at least. al art gal
lery-and then admit that they cam
not tell what 1t Is. The latest and
perhaps the most successful attempt
at q definition by one Of its intimates
10 this: '29l is a trinity: a place,
person and a symbol"
= The place Ito start with the first
number OF this trinity would surely
give. externally. no impression OF
housing one Of the sever creator
any-wonders. The building num-
bered 1918 Is undifferentiated from its
neighbors. a row OF little brownstone
houses, former residences of the -Four
Hundred" long since fallen from their
proud estate and abandoned TO the
uses Of business. The sole indication
to the initiated OF the object of his
search Is an easily overlooked little
wooden signboard with the legend
"Photo Secession"
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

! was determined to conquer the prob
lem, ever though I didn't rightly know
at that time what the problem was
which 1t presented. ! never did sue
coed in getting the effect I wanted.
Indeed. as l now realize it, 1t was i'm
possible-the cantrast between the
black and white was too great. But
in these attempts I learned a great
deal about photography which I never
could have learned otherwise.
This incident is typical Of all my
experiences he digresses musingly.
81 have been an unconscious expert
menter. Setting out to accomplish
some particular desired result, I have
sometimes succeeded. More often
much more often-I have failed. In
either case l have learned while try
ing many things about photography
and art and people,"
Some of these first pictures Of the
young photographer attracted the at
tention and admiration OF his profess
sors. They were shown mot through
the initiative OF StieglitZ, who has ever
been overmodest as to his own achieve
ments) TO some Of the leading artists
Of the day, who were amazed at the
artistic results obtained by the camera
AT that time explains S~tieglitz
with amusement, my idea OF art was
Fritz keppler. the original c~artoonist
Of Puck, which had been started in a
back room of my fathers house in st.
Louis. When they first showed me a
Rembrandt I explained scornfully and
with trina ttnaricnn afrintfaup sNtFJn
the deuce In Rembrandt? We have
Keppler.'
AT that" he continues, thoughtful
again, II was perfectly right az far as
I went keppler meant something to
me and Rembrandt didn't. and that is
the only real criterion by which any
one can or should judge any art.
80 ! asked these great artists. per-
fectly innocently. why the product OF
my camera-if, as they admitted. IL
was equal in beauty to any of their
" artistic creations-was not equally
entitled to be considered art. At this
they laughed and explained hat a
photograph. being the product of a
machine could never be art
But ! argued. 'supposing a ma
'llIif al iIdht u DttltT SnOe lntN can
be made by hand, will you not prefer
the machine made article to TIE in
ferior hand product"
"a machine was their reply. can
never produce as good an article as a
real craftsman tAll this. be it re-
membered, was more than thirty years
ago.
Machines can and WILL I stated
with conviction. make shoes more uni
form. more perfect in every detail.
than the most skilled craftsman can
execute. And them ! continued. If an
artist shall come along. a real shoe
making genius. who shall make a diff
ferent shoe. an ideal shoe. you will be
the first to decry him and declare that
this is no shoe at all"
At the age of &c Mr.. StieglitZ.
after having won over $50 medals for
photography at exhibits all over Eu-
rope, returned TO his native country.
he United States In New York he
gathered about him in the fight Ia
place photography among the arts .
number OF the most original and in
dependent of the amateur photogra-
pliers. Among this group, which be-
| came known as the Photo-Secession.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

ilned with gold and two coca-de. y,
lt'Ie gold and silver ribbons-foru a.
feminine n far removed from am
pots as the north pole from tho s,',,s
madame again.
Al TINS the man m.l..r4-
A'nhselt came by, not Daniel Lew.
out ms nephew. NJ. Gus,aye ina,
great artist who seems TO he never
ouSy. yet whose life Is spcut de-. rr.
ing FORM like a sculptor and comb ny
color Ike a painter.
She desires to see the stock :
SAID TO choose from"
irooanly because he knew ne h. la1
US through rooms and rooms AMI
opened doors, and through more rooms
% a great mass of color. ON hun.
urea stands a hundred hats k,...i,.
scope and confusing. made NJ, ts,.
TURN on. the beauty" "L.s,
this one" Now. why dbl, .r.,
'"o" me that'' we heard her chirI-
ing NJ. Gustave smi.cI with
queer Wrinkle Too gay. no Ms.
pe'eu, n | gathered that IN, s,.G
was south American. We q...
II 4 NNf.l N = \ a ~ A
Now vo uora
black ava sbtn,n ,"' .''.N
shades of hIaor 80 ""lN.'
To richest yor,'o, 49,
gray. hit. o.a'NH SCI ''
aigrettes ''"' ""' ""
ON n, ,,o .
us n a raol,n f'',' "'h"'f'
The newest ''''>
took no,o 30 r,n, '"'
! cyClamer s,nn', "''''|>' y
ana Cnnucinas que ~
red ' " '''N
l"eH seemed all sold ro.'- 'rr
"'.r III 'nere a modest CO. ..H-
me coIors'' he SAID. 'I s- -
w" 'huch black; they cra." T." die
'.,' 'o'orS'
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

discussion in art circles. During his
present ~sojourn in New York he makes
this room his artistic headquarters.
and here are to be seen his latest cre-
ations-none other han those strange
pictures which the visitor might take
for an engineers mechanical drawings.
This man carrying OF with him an
animated and apparently endless dis
cussion in French Is Marius de Zayas.
who has adapted the New Art to the
uses of caricature-one field at least
where the most captious critic will not
be inclined to question It's appropriate
ness. That silent. young. old looking
youth, who alone seems to take no part
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24
WENT with a lady to the smart

r WENT with a lady to the smart
est modiste of Paris. 1t was her
FIRST trip. and she was suspicious.
where's their stock"" she
whispered.
We sat In a little room Of white lac
uuered and gilded walls. In a suite OF
little rooms extending on and on. Here
and there. afar Off. stood a hat upon a
high pole, but no William Tell TO shoot
II. Elegant clients sat or wandered in
the long perspective, waiting, per-
fectly good natured. Saleswomen. un-
dulated, manicured, high heeled. per-
fumed, In black. appeared, disappeared
but principally disappeared. There
was a wartime silence.
BLACK velvets?" inquired a pert
thing Of 35.
And disappeared.
"why did you say yes?" the seeker
whispered. why did she stare at me
like that"
The saleswoman did stare. She was
back soon, with another like herself,
and nine hats. six black ~velvets, one
dark ruby. one dark Corinthe. n dark
Bordeaux. One by one she tried them
on the lady. Two she set aside and
seemed to wait, TO let the lady pay
with the remainder. Try on, try on
why did she run off with those
two" whispered the inquirer. ASK
her please to bring them back"
Now three minutes are supposed to
pass. Business before the mirror.
mo. take them away" And she
wa right.
The saleswornan spoke up!
"Any Of the seven will look well on
madame"
Madame was angry.
"Avez-vous no stock?" she inquired.
"Tell her ! wan to see the jam-pots.'
"Top hats ! translated.
lies Position" smiled the good girl
while her partner undulated to the dis.
tance and returned with IA white satin
pot that had a tiny rolled brim. 1t
was yelled with black netting and four
little black velvet bands.
The seeker shook her head.
mo. mems hats. Tell her Puritans.
1t Is astonishing they don't know what
the styles are. Chapeau um red. tell
her"
I'm red,
! translated surf hats trimmed with
ohnds and In, kles az II were bob Acres
ana RORY o'M"rr effects, 80 to speak.
or words to That effect,
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24
velvet bands.

They were eccentric forms, dry,
masculine, eccentric. To add piquancy
to the collection. Not to wair, no-oo-oo!
tShe fell into English.) Hat shall be
proportion. These own"
And Ia prove 1t she put the fried
egg on the lady.
Really II looked smart, the little
imitation Derby Of black velvet,
ornamented with a bandcau and pouf
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

She relaxed, but yet protested.
Are there no high hats?"
She reached out for a "capeline"
straight from the Coincide Italienne Of
the Hotel de B%ourgogne, great, fiat,
Hopping. formless trlcorne Of black
velvet, with "A garter" of Nattier blue
g~rossrain. They wanted to stop her,
but she would put 1t on,
pardon. these one" said a soft
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

Of cocks feathers: and the seeker
motioned to retain II, as they carried
off the others.
admire tho eye Of these women"
! said tactfully. "Out of a batch OF
impossihles she fishes out the one
thing which you can make look
charming! Now | know why she was
staring at YOU"
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

voice, and they popped on her what
they called a Don Bazille form OF
black stretched panne whose ton. be-
tween the rolling turned up brims. was
MED with IA gray ostrich amazon and
a big strass motif on the side,
She smiled at herself, content but
dubious.
IT'S So old fashioned it looks now "
she 'But she kept it.)
Then they tried her on a large black
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

'They're not black silk beavers
accused the lady.
They are black" 7 pleaded.
Madame, they were always panne,"
like ours makes It's own forms"
interrupted.
"Were?"
The saleswoman squirmed.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-24

"Why does she go 80 slower IN
quired the seeker.
The side partner came back, loaded
up like an OF clo' man, with2 the
stove pipe OF a Brest sailor, vintage
1920, a conical Fra Diavolo. a sawed
of opera springer. with concave edges
and a real sweet little derby like a
fried eyg.
Okolona messenger. (Okolona, Miss.) 1900-current, 1915-08-26
NOTICE

Okolona, Miss, Aug. H.. 1915.
The partnership heretofore exist.
ing between w. A. Houston and A
L. Jasoe. under the firm name Of
Houston & Jagoe" has this day
by mutual consent Of the partners
been Dissolved.
AlDaccounts. notes and other as
sets have been place in the hands Of
A. L. JaGoe for the purpose Of wind
ins up the affairs Of the partnership
and all psrties,indebted to said hrm
are hereby notified and are requested
to make prompt pay ment to said A
L. JasOe.
W. A. Houston.
A L. JaGoe.
Okolona messenger. (Okolona, Miss.) 1900-current, 1915-08-26
Why7

Well, why does "shoemaker's child
never have shoesY" Why does the
average architect live in an ugly and
poorly planned home? Why does the
modish dtessmaker usually look
dowdy? Why is the lecturer on the
Duties of Mother" always spin
Ster7
Okolona messenger. (Okolona, Miss.) 1900-current, 1915-08-26
Corinth, Miss,
May 10, 1916.

May 10, l9l5.
To the Public,
have opened an Office in
Tupelo over the drug store of
Pound, Kincannon and Elkin.
/ am there in my Office ON Tues
day, Thursday and Saturday of
every week in the practice of
my profession of osteopathy and
electric treatment.
S. F. Riley, D. O.
P.S. / am a graduate and reg
istered osteopath. Save the
time and place as you may need
my services later.
Okolona messenger. (Okolona, Miss.) 1900-current, 1915-08-26
Woman to Woman.

AZ a matter OF fact, one woman 10
rs eager to pay another woman's car
fare as one man Ia to pay anothers
gas bin.
Okolona messenger. (Okolona, Miss.) 1900-current, 1915-08-26
After -Four Years Of Discouragins
Conditions, Mrs. Bullock Gave
Upn Despair. Husband
Came to Rescue.

catron, Ky.-ln an interesting letter
rom this place, Mrs. Bette Bullock
writes as follows: 81 suffered for four
years, with womanly troubles, and during
This time, could only sit up for little
while. and could not walk anywhere at
all. At times, | would have severe pains
In my left side.
The doctor was called In, and his treat
meut relieved me for a while, but was
soon confined to my bed again. After
hat. nothing seemed to do me any good.
Okolona messenger. (Okolona, Miss.) 1900-current, 1915-08-26

Estate Agent Exhibiting property
to prospective tenants)-And then this
house is SO conveniently located. Not
the slightest need of equipping 1t with
expensive clocks to tell the time-a
train passes every FIVE minutes on the
railroad not 80 feet away.
Okolona messenger. (Okolona, Miss.) 1900-current, 1915-08-26

cures Old Sores, Other Remedies Won't Cure.
Che worst cases, no matter Of how long standing.
ire cured by the wonderful, old reliable DR..
Porter's Antiseptic Healing Oil. 1t relieves
Pain and Heals at the sans time. 2Sc. SOC. $l.oo