davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15

how regular you are and where your
mind is during the work. You must
set sttentively and intelligently. II
the violin teacher understands his bust
ness, his first effort will be directed
toward giving strength and endurance
to the fingers.
1t is impossible to gain velocity with
weak fingers. Faithfully and patiently
you must carry out the instructions Of
your master. Don't be anxious to adj
vance by leaps at the expense Of thor
oughness. You cannot gain and hold
your ground by the "hurry up" system.
Take a lesson from the tabled tortoise
and be satisfied with the sure and
steady progress that will be your re-
ward. Spasmodc work (too much one
day and too little or none at all an
other day. spells disaster TO the violin
student. Care must be taken not to tire
the fingers to such an extent that they
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15

M violin execution in the last 100
Years. and that is Paganini."
In explanation, Mr.. Spslding referred
to Paeanini's achievements in develop
ing the higher positions for the lefs
hand. "But the fact remains he COM
mented. shat a player, in order to per-
form the music Of Bach with correct
information. must have a technique that
will take him over the whole hnger-
board. To illustrate my point from an
example of modern violin writing, taKe
the unaccompanied sonata in A minor
of Roger. This is composed IN ireeI
style than anything OF bach s. anu yes
il is not more dlfflcult tnan Pieeo Va
Bach music to play"
The violinist admitted, however, that
Roger. if not harder to play than Bach,
Is vastly harder to memorlze. FOR
Reeern he explained, writes an in
ordinate number Of notes. Once some
bodv asked me if had another long
Roger piece in my repertory besides
This one. replied that | had not, and
that | could not imagine player VINO
would undergo the labor of committing
two long Roger works to memory. re-
gard modern music" he added, "as gong
in the wrong direction when 1t runs 10
complicated passagework and elaborate
DEVELOPMENT OF themes. Inc beauty Oh
tone of the violin rests on the quality
of sound caused by its overtones. AS
soon as you go into complexities you
lose this essential beauty. Bach Al
WAYS has a fresh sound because he
never multiplies his notes to excess
and consequently never destroys his
tone.
"A Characteristic Of Bach melody
Is that it gives the impression OF It's
own harmonic support when heard. IL
is self-sustaining. 1t is unsteady SUI
ficient without accompanying paris
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15

feel numb and refuse TO act. There
have been instances where Students
through disregard of natures warning
have suffered temporary-even perma-
nent--paralysis Of the finger and wrist
muscles. 1t Is therefore advisable to
do your finger exercises at the end Of
your practice. Under these conditions
you will never strain your muscles. be-
cause you will not be tempted to use
your fatigued fingers when time IS up:
1t is also a good idea to do some of
your finger exercises upon your violin
without the bow (for which your
neighbors will be GRATEFUL and two or
three times day, between your prac..
tice hours, just for few minutes, OF
course. All great masters of the violin
were hand workers; and none of them
advocated "short cuts" in developing
technic, their own experience having
taught them the folly of it.
When deciding to study this instru..
ment don't be deluded into the belief
that wonders can be accomplished in a
very short time. Regardless of your
gifts. it is only by patient and persist
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15
The Secret of Leopold Auer's Success.

would catch something of the artists
spirit and feel CAPABLE of big things.
1t must not be supposed for a mo-
ment that in striving for this ideal
ism Professor Auer overlooks techni-
cal shortcomings. On the contrary, he
demands greater perfection than those
who make technique their sole object,
and he diagnoses a technical trouble
with uncanny sureness. Technique,
however, is studied not for its own
sake, but rather in relation 70 express
sion. He impresses his pupils with the
idea that in playing all material things
should be eliminated. There should
be no effort apparent; no evidence of
mechanism; no sounds of bow
strings, rosin or fingers-just pure
tone-music. Needless to say, such an
ideal can only be approached by fin
ished artist, but in striving to express
himself with this sense of perfection
in mind the pupil perforce acquires
technique.
In teaching Professor Auer always
allows the greatest possible scope to
individuality. He seldom marks or
changes a lingering unless aesthetic rea-
sons make 1T advisable. In questions
of interpretations, too, he is most toll
Grant. The conception may be ever so
different from his own, provided it is
convincing and does not violate the
principles Of good taste.
Those OF US who are privileged to
know Professor Auer personally will
never forget his kindness, his interest
in his pupils aside from professional
relations, his ungrudging praise where
praise is merited He is indeed mas
ter, a great artist and, perhaps best Of
all, sincere friend.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15
OLD VIOLINS AS "ARTISTIC
ANTIQUES"
By ERNEST N. DORING, JR.,
of John Friedrich & Bro.

The recent sale in this country Of
collection of rare old violins brought
over by well known European dealer,
brings forcibly to mind the fact that
since old volns of over one hundred
years date have been allowed free entry
through the Custom House as artistic
antiquities" business for American
violin dealers has been waning.
1t is true that the former IS per cent
duty assessed on old violins was a
hardship, but considering the fact that
it practically eliminated foreign COM
petition, it was preferable to opening
our market to the incursion Of Euro
pean dealers.
A reasonable duty placed on old vio-
Inns, which, being brought over only
for purpose of sale, should hardly come
under the head Of artistic antqui-
ties" would soon damp the ardor Of
the foreign dealers.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15
By ALEXANDER BLOCH.

When Mischa Elman made his sem
sational debut some years ago attention
was at once directed TO his teacher,
and soon the name of Leopold Auer
became famous throughout the world.
Before that, though prominent in
Europe, and particularly in Russia,
Professor Auer was little known in
America. Later, when other great art
lists appeared, pupils of the same mas
ter, It became evident that man who
could attain such results must be
great teacher and the pilgrimage OF
violin students to Petrograd began.
There have been various theories to
account for the success of Leopold
Amer. Many concluded there must be
some new method-a short cut to teen
nique-that was the open sesame TO
fame. But this is not true. Professor
Auer has written no method whatever;
in fact. he is inclined to regard all
methods as pretty much alike, and
often allows his pupils to choose their
own technical studies. Thus the ma
every teacher. Naturally he insists on
certain technical principles (the devel-
opment of strong fingers, absolute IN
tonation. relaxation OF bow arm, etc..
These principles, however, though OF
the utmost Importance and requisite TO
good violin playing, are no secret, but
are also taught by others. Therefore,
il is to none of these things that Pro-
fessor Auer owes his success as
teacher, but to a much deeper and sub
tier cause. The real source OF his
greatness is lis personality.
When | studied with him in Petro-
grad | had the privilege of attending
his classes at the Imperial Conserya-
tory. and each lesson was fresh reve-
lation of the force of this personality.
1t awakened the aesthetic sensibilities
and the faculty of self-crlticism.
This was the whole trend and pur-
pose OF his teaching. In hundred
and one ways he made his ideas
graphic, sometimes by an amusing an
ecdote, which was often SO apropos
that it became class tradition; again
by caricature, eXaggeratlng or ridicul-
ing fault. This process, though not
as pleasant for the pupil as for the
audience, was always effective. More
often, by sheer force of temperament,
he would arouse the pupils emotions
to unknown heights. Each compost
ton was made to live. every mood was
vitalized, the languor and coquetry of
q Spanish dance, the daintiness of
minuet, the dramatic moment of a eli
max, the mystery of pianlssimo. AT
such times both pupil and audience
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15
WHY NOT CHEAPER
VIOLINS?
By FRANK NJ. ASHLEY.

Violins have not been materially
changed in form or method of con-
struction for 400 years. They sell when
new from IS to $500 each. They are
made entirely Of wood and weigh about
one pound each. Why this great differ
ence in cost? An old violin made b.
Stradivari or Guarnerius cost $1,000 20
$4,000 or more Why this great differ
ence in price?
In making a violin a board three
quarters of an inch thick is cut 10 the
outline form Of a violin, then scooped
or routed out to get the proper arching.
Why all this routing TO get the proper
arching when the plate might be made
one-eighth of an inch thick in the first
place and bent or pressed to form the
arched construction Let the inventors
of the country get busy on this acous-
teal proposition and give US vio!ins
for IS equal in tone TO those now
costing higher prices, and we will have
more music in America.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15
NEW YORK TRIBUNE,
ALBERT SPALDING'S

Interpretation" Is q word that has
been altogether too much emphasized
In musical talk and writing, In the
opinion Of Albert Spalding, 40 ex-
pressed in q recent interview with
Tribune reporter. Brilliancy Of per-
Torrance is dilated on in conversation
and in articles by reviewers, according
70 him, far more than it deserves 70 be.
with the result that appreciation Of the
music presented is lost. People. he
finds, have got in the habit Of listening
to the player rather than to what no
plays. They think OF how he does 1t
and forget about the piece itself.
"The interpreters IDEAS" he de-
clared, "must always be subordinate to
the composers. His highest function
is to reproduce what the composer says.
Take, for example, q performance OF
the Bach 'Chaconne or of any of the
great violin concertos. The important
consideration is not what this or that
artist does with the work; it is how
this or that phase of the writer's
thought is realized"
what of violin techniqueT was
asked. as it developing at all in our
times? Is it changing under the In
fuence of the modern composer?"
"Technique" he queried in return.
"Why, my candid opinion about that is
that it is just the same to-day as 1t
was 200 years ago. l can hardly see
where essential innovation has come
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15
TRIBUNE OCTOBER u.s. 1916
SPAIpNGS TAXES ITS RHYTHM FROM THE tOA 1ROI

Bach's melodies are like the outlines
of Da Vinci and Botticelli drawings.
They contain the idea and structures
of the whole work. Botticelli's sketch
for one of his Medici portraits makes
you feel the presence Of the subject"
At the request Of the interviewer Mr..
Spalding discussed one Of his own COM
positions for violin, the suite in c. and
in particular the third movement, the
Vivace. "This movement" he said, lis
the rhythm Of the fox trot darce,
which, though very elusive, is clear.
NV idea of applying the fox trot TO
serious composition Is new, but it is
the kind of thing composers have al
WAYS done. Some of the syncopated
rhythms of our modern American
dances are complex and fascinating,
though they are treated in an I'M
imaginative and inartistic way in the
music of dance halls and restaurants.
They are a great SOURCE for writer Of
concert music to draw from. They rep
resent tremendous popular interest in
new rhythmic forms. Rhythm in seri-
Gus music has progressed but slightly
in recent times. The great names in
composition of late have been asso-
ciated with progress m harmony. Tho
rhythms of Haydn, Mozart and Schubert
are more complicated than those Of
Wagner, Strauss and Debussy. The re-
entry of rhythm as factor in chamber
music and symphonic music will be i'm
portant especially, | believe, in the
work of American composers. The fox
trot rhythm is purely an American in
yention. 1t is Of the soil, just as the
tunes of Foster were. Its intermittent
syncopation lends itself to humorous
treatment, and have written the third
movement Of my suite as a scherzo.
The rhythm of the fox trot has the
breath of America in it,"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15
The Josefy Method.
By ROSE WOLF.
Assistant to the late Rafael Josefy.


Az IL has been my privilege to teach
fifteen years under the late Rafael
Josefy, know his methods as perhaps
no one else. Those who were fortunate
enough TO hear him in his time will
remember that his playing meant all
that is beautiful and poetic in music.
Mere and more did he believe in
complete system of technical educa-
ton, in the acquisition Of the manual
skill which piano playing necessitates,
and insisted on fitting preparatory
training and course of instruction
specialized with a view to musical as
we'll as technical development For he
held that the student naturally looks
70 the teacher to supply him with the
knowledge of the principles and prac-
tice of his chosen art, knowing that on
the acquisition Of this knowledge his
individual success will greatly depend.
He taught the various kinds of finger,
wrist and arm action and many differ
ent modes Of lingering in order to bring
out the manifold tonal effects possible
only at the piano. lingering was his
special fad. He would sometimes
amuse himself by changing the finger
ing of piece in such a way as to make
it sound like an entirely different COM
position. Untring were his efforts to
impart to his pupils the technique of
"A beautiful singing legato, Of artistic
pedallng and of shading. Rhythm,
tempo, accent and phrasing were items
included in the technique course, and
the ideal looked for was the skill TO
apply all these technical principles to
the playing in so finished manner as
TO lose sight of them altogether and
think only of the intellectual and emo
tional in music. The more thoroughly
one has mastered technique the more
completely can one forget it while
playing.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15
By VICTOR KUZDO.
First Authorised Exponent in America
of the System of Leopold Auer.

III
of the System Of Leopold Auer.
For the solution Of life's tasks and
nroblems we constantly seek short cuts
II seems to be an affection. bordering
on mania, to try to find the quickest
possible way Of accomplishing things
This Is essentially true of the people
If the United States. Life is too short,
they argue, to waste time in detaiied
and prolonged efforts. Why not try 70
find short cut?
There are many pursuits in life IN
which short cuts may be used to ad-
vantage. Let US now see il any such
"royal road" exists for the violin STU
dent; and, if so, Is it best to follow IL
The technic of violin playing Is
founded exclusively on finger (also
hand and ARM gymnastics. 1t is all
question of muscular development,
therefore we have TO go through
course of manual training, with violin
and bow in hand, just as the physical
culture student goes through his
course with dumbbells or Indian clubs.
In all muscular drill the regularity Of
daily exercise is of the utmost impor-
lance. II is not so much the question
of how much time you give TO it, but
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15

ent effort that you reach the goal
Button said: Genius is patience"
If you are not prepared for the Tong
route in your study leave the violin
alone. Work can be condensed, there
by conserving your energy; but if you
wish to achieve distinction in the violin
world the months and years of patient
labor cannot be shortened.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-10-15

into violin playing since the six
sonatas of Bach were written. Who
ever can play those works is fully
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23

There afc five acts ~ me L,rir ~
quite a different sort compared 20 what
tho schedule provide Ra q rule g,U.'.,
Nhn play tho VIOLIN piano ani cello
ifamps and clowns who PERFORM 'r,'E uu
horizontal hsrs farmers In burh,t.r %.
psts and ndtIin stHghtly ,ouHE people
" TODAY who niri 'ri fnron and sims
and dance Nni ths roller ttBNra tour.
nhmsnt NJ Canr Mason 'ui sh1N Do
a worthy novelty
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23

Tho wave n oklahoma CIV cnthu.
smsm ls rolling high and sweeping nl
before r Tho civ ia rell,lng to tho
sIpport ~ IN. royomep, Tor a npFor
better uui broader Chamber NJ Com
w'rDo ma the expansion and develop.
mont campaign Dr. bringing aII i"d.
l'"od'd pEhHomlus forward No get.
iuruih'. mu,,mrui for civic welfare In
manner the ,ItN has not known In
'orrI
The oklahoma spirit famous the rOun-
'rN over has been revived uuI s mani
Testing fs"If ng never before There a.
fore" uud uovcr back ~ This move 90
put NJ" Chamber NJ Commerce on %
high r.uur that there is mo- DENYING
I, FL, Thin,
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23
REVENUE elLL DRAFTED

NNsluNGToN. u g.. June % 4
irH'' of tho Hdm'nlHp''pns general rev.
'nI' hil was tentatively bgfs,t or ,rs.
'''lN N democrats NJ trr luH.. Vb,s
Nni means committee Tho l" s -.
...''i ip raise ilnU nuO onn Nt rrr,, ling
f'r Ns nn incomes g 100000 l, nr
rNrrIiHn.' ~, and isNnNNU'1 N,. "a Ffti
u'''i pN uf percent uf more rn mot
receipts or profits nf munitions plants
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23
TEXAS BATTERY SENT
TO BROWNSVILLE AID

SAN NNToNip Trrs June % cen.
'1| Funston IHst rirh' ordered battery
\ u' 'H' Trys national gprd which
hW t"on hold here. ~ report to Genera
Parker ~ Brownsville u viii leave ,his
morning
frfN five carloads NJ ponionn o1uIp.
m'nt that Wa ordered sent from wash.
inr'on has arrived Two companies NJ
'nr'n''r' With additional uou'uon ,luip.
w'ni are expected tu Hrfiyc 100 few
dave
R1i''ry \ Dallas artillery NJ tho Tetn,
national runri ordered from Fort sam
houston tn Brownsville. VlU ha sent 'o
no 1nnir city Immciairit urpn rs
arrival 1' UfnNnNilc 10 was announced
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23
LIBERTY

Manager Mccall of the Liberty b. 20.
ewing the congratulations n h.s Pai.
r.us upon the vaudeville acts plnyina
that thontcr tho last half " the week
The Nnrplr,l -Four. thfc" Italians ana
sopfnuH singer sing many grand
opera selections utilizing special seen.
iD effects Haley and iiHlet furnish
comedy. presenting r. collection ~ comic
songs and dances Other acts are cur.
iis and Wuhe'l cabaret entertainers
Nlttmr, daredevil sIuiuHflN and rtE,
and Van Arden in scenic singing nov
city n Happened IN Honolulu IL
IN" screen attraction. with Myfue Gon
Esl's and Vbl Pal IN ne loading roles
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23
|At Ast4&sssg!!3gesttsss


George Pebsn ne genial. hard work
lnG Italian grocer. is In love with an or.
phAn gh be has raised. goes 20 war. is
wounded and returns home 10 have his
hopes N marriage cruelty betrayed IN
pasquale t NurOsr0. Paramount pho.
toplry tl the Empires. to-day and Satur.
day II Is tul OF palhos ana intensely
fascinating human interest Huscnr Af.
huUk'r appears also in FirNr Fatty
Fan his greatest Keystone Mao Nur.
ray comes SUNDAY and Monday lu Sweet
KITTY Brltfs.' lnaay feature
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23

Irr rlntsi orrrsi's Mis. pe.sr-. srf 20.
srris fnris WiiUsm siopsU ana tt,t+,
fnN M''rf ruuTa'sN su Ft.frf.rr,rt
s'frrU ussi Wss russr- vr4s sYIi af
sr'rnf 'n sfts-s' .f ihs earlier s.stfs ANA
tsf' esn shs intal 'r fsr t- 'rfra+t
W|rr'irf1 Ufsrren.I wishes ffa .r.tt
'n trnv ifs' she stfHs hs. rI.f- ...,.
v'fh luu be despite tra hri ikst tt.
rfwsr.rsfs seldom sgsl Ii cutft.if An
rsht Winnlhsd
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23
coLeoso Aipoowr

Ns snun as i' Ia infs rr0urr mo r'e.
iIrfs open each evening B' ro'.Hfi 1ir.
dome new picture each time NHi 'Hrfr
Is must. md sHrE hui irfrs ana fue
rfa
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23

Northumberland s.r George Cor.
rInsc. Who figures largely In the recon,
W. oruilWa dispatches. ls oru ~ the
, Youngest officers " hls rank iu the
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23

British service Nt the axe of thirty
three he commanded column In the
Nur, Vht. aud at a. he vas major.
general
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23

Helene Nnssori fsrsriF rnruirtaf
ruri Dhafa .irutaiiUr In ffs Tive fssI iss
iufr The white Uusaifs uhrh eaa
rfuiursi tt RONALD NsrpaaH st ,ta
American studies si Santa ua-ts.a b
is r. tsIursfraiun siuii showing the Al.
uSts Vt ihfes persons , Futfssi Ia.
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23

Every Fthvc At the front ls marked
hy a simple cross with name. regiment.
and date ~ burial recorded NDursts
surveys sf' kept of ever, mrbl sroini
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23

Screen s,sr Know, Al About "tIrr,.sty 4"
Az Important WriN MIN acquisition is
3 inme1rr iiafs iha rrHTsf ar'fr e.W
known in 'hr irriHmHff saet its vac
tufH boz 1Irrrnn Ireland and educated
N' Saint uurs'ara college in iurf.r
". followed hs ga fuuf ttsfs isfafs
ru'rr rr 'hs sHrf iu trrfnH hT Il
ufafrd ir such Important ROLES as "usn
iiuf John Siufw In The christian
ara .rha Admirable UfI.Nirr
o. haf also appeared ir South ArI.a
and throughout ths ursri nr1Hr Dol
AMsfcs in isot since then he fss r.s,ai
leads Nth John urrv ItNti psfft fraf,
Nsuir Adams and gfayf genfrf
The Oklahoma City times. [volume] (Oklahoma City, Okla.) 1908-1984, 1916-06-23
NEMSN0IESS-MpQELAND
S or DAISY DEAN TSsN
NJ ~
Il ~ssl
AZNE<
or DAISY DEAN

Tom Moore me eldest ~ ihr Famous
Moore Family and husband ~ NU.s
lu,,r. The celebrated screen star. con.
'.Hsrl fsUru'N that hs bu, bis gfs,t
wN.iInu WIS iH become a Jewish COME
iHu. and lr ihs neat breath admitted
iNH' no vas horn in No County Meath
thirty wIirs from uuhlr. Ireland Tom
'ls0 admitted that his first five avrssf.
Hr.cs ur tho s'asr ended b, his hs.re
stranded iu n,s different r't's ~ me
lri'rd states lev rh,lur photographer
with mo kslfm rnmpNr, vRs fssrrrsiis
'ur Toms entry into ihr motion tIr'ufr
Gold. and TAilof also introduced Tom tp
iHr present Mrs Nuofs
A. frs' Tom didn't e,ts fNf me rr,.
iHT picture NE and AFTER prs pf two
attempts lsr the "aIrsmas ana ven,
back io hte earlier love .a ,in,s com.
p,ny." In bridgeport conn rair vss
nu' in 10 'hWafisi. however. ard event.
u'Ih Tom landed solid With tho ksism
,omrar, where hc eDDsd and ppr pfs'i,
Alice ln,ys iusi rrrcril, Tom signed q
contract vI'h me iuhir Uumrsr,
Town 1ri h's r''ls family have a hs,u.
Nul hHwr H' NInru SECOND street aud
Wsfi INA avenue Nsv Nufs ami a. ts
Saws himself "Yuu rouldn b'ne him pni
uf pictures oith an me Fur. N ,hs united
armies Uf ihs universe
The Leader, enterprise and press. (Fitzgerald, Ga.) 1915-1921, 1916-09-27
SHAFT is DEDICATED

Americas, Sept. 26.-A memoir
1al to Minnesota soldiers who
died in Andersonville Confeder-
ate prison near here during the
War Between the States, was I'M
yelled today the at Andersonville
National cemetery. Adjt. Gen.
Fred B. Wood, of Minnesota,
and Gen. H. I. Davenport, form
er commander of the Georgia
division of the United Confeder-
ate Veterans, delivered addresses.
Included the in the Minnesota
party attending were Gen. C. c.
Anderson, {. F. Mcdonald, Levi
Longfellow, Thomas P. Wilson
and Henry B. bikes. Governor
Burnquist, who with the other
members of the Minnesota COM
mission attended the dedication
OF the Minnesota monument in
the National cemetery at Mem
phls last week, was called back
to Minneapolis by urgent bust
ness and could not be present.