davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-11-10

should be withdrawn Immediately
from invaded territory everywhere
and asked whether the Imperial Chan
ceilor "is speaking merely for the
constituted authorities of the empire
who have go far conducted the war;
The next German note on October
II was signed by Herr Solf, the Sec
rotary for Foreign Affairs. 1t said
that the German government "has ac
cepted the terms laid down by Presi
dent Wilson in his address of Januar,.
and in his subsequent addresses or
the foundation of permanent peace
of justice. Consequently, its object in
entering into discussions would be
only to agree upon practical details
Of the application of these terms. "
The note declared the readiness Of
Germany and Austria Hungary to evac-
uate occupied territories and suggested
a mixed commission for making me
necessary arrangements CONCERNING tho
evacuation. Finally it declared that
the Chancellor represented the great
majority OF the Reichstag and spoke
IN the name of the German govern
ment and the German people.
Must Safeguard Victory.
President Wilson replied to this note
on October IA. He said:
1T must be clearly understood
that the process of evacuation and
the conditions of an armistice arr
matters which must be left to the
judgment and advice of the military
ADVISERS of the government Of the
United States and the Allied gov
ernments, and the President feels it
ms duty to say that no arrange
ment can be accepted by the govern
ment Of the United States which
does not provide absolutely salts
factory safeguards and guarantees
OF the maintenance of the present
military supremacy Of the armies Of
the United States and the Allies in
the field
"Thc President feels that it is also
his duty to add that neither the gov
eminent OF the United States nor,
he is quite sure, the governments
with which the government of the
United States is associated as a he'll
ligerent will consent to consider an
armistice as long as the armed forces
OF Germany continue the illegal and
lnhumane practices which they still
persist in.
Dooms Arbitrary Power
at is necessary, also, in order
that there may be no possibility of
misunderstanding, that the President
should very solemnly call the atten-
ton OF the government of Germany
to the language and plain intent of
one OF the terms of peace which the
German government has now ac-
cepted. 1t is contained in the adj
dress of the President delivered at
Mount Vernon on the Fourth of july
last
ut is as follows: The destruction
Of every arbitrary power anywhere
that can separately, secretly and of
its single choice disturb the peace
Of the world; or. if it cannot be pres
emily destroyed, at least its reduc-
ton to virtual impotency.'
"The power which has hitherto
controlled the German nation is of
the sort here described. 1t is within
the choice of the German nation to
alter it.
"The Presidents words just quoted
naturally constitute a condition pre-
cedent to peace, if peace is to come
By the action of the German people
themselves. The President feels
bound to say that the whole process
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-11-10

tional policy Of the United States and
supports the imperial policy. He ig-
nores history when he says it supports
his declaration. The freedom of the
seas that the British navy historically
has guaranteed is safety for British
ships and commerce, but safety for the
ships and commerce of no other powers
when Great Britain happens to be a
oeltigerent. The term freedom of the
seas relates primarily to war, and not
TO peace times, when there is little
question of their freedom"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-11-10
Captures Two Huns Six Weeks
After He Is Reported Killed

Private Harry Bernstein, of Com
pany A. 1o6th Infantry, reported
killed in action September 2s. has
written twice since that date to his
wife. who lives at 66 Middleton Street,
Brooklyn
In his last letter, dated October 16.
he wrote that he had captured two
Germans
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-11-10
CHECK INFLUENZA
Fumigation-The Preventive

E"1"IS"tIoli-IHe PrcventiYe.
The Importance of precaution Under
present conditions cannot be exaggeratad
Why take chances when at a nominal cos;
without any inconvenience to YOU yol,r
premises can be rendered absolutely Germ.
free?
Fumigation properly administered is the
last word in Germicide. We are in a posi-.
tion 10 render expert service in the fumi.
eating line with every modern facility and
are prepared to render "a bsoluteIy Germ,
and Nermin-f free any building or ship, no
matter how largo, within twenty four hours
OUR SCIENTIFIC METHOD OF FCNT-
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Ert,ronHdtors Of All Household ycrnlis
500 tifth Avenue. New York. cor. 4ad NJ.
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New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-11-10

SIS 900 PENN
POLICY Age 40 MUTUAL
ss725 LIFE
ASSETS 1873 MILLIONS
Send date OF birth for specimen policy
Depan Agency. g Court Street, BROOKLYN
y. Y. Phone 4i46 Main.
New-York tribune., 1918-02-24
$ igt sEtRG a. & y.ey -

supplies something in the nature of
clew. 1t IS simple, beautifully drawn
thing. lngrcs would have praised it
if he could have praised anything by
Dclacroix. The rest is all pure ro-
manticism-D Dclacroix the disciple of
Rubens, DclacroiX the Oricntalist, Della
croix the painter of battle scenes, Of
hunting episodes, of religious subjects
Il la Titan. There arc drawings here,
as in the lngres contingent, but one
suspects it WAS the colorist in Della
croix that won Dcgas. At all events,
he is in this collection, as in the days
when the two men were living, the rival
OF lngrcs. They are the twin pillars
bearing the arch. as it were, of that
aesthetic fabric which Dcgas reared in
his home, under which he dreamed his
dreams and did his work.
No other individual looms quite so
large IN our list. But just one comes
very near to doing So This is Manet
There is q curious leap, if we may so
define it, from period to period in the
Degas collection. One is aware in the
first place, rs we have indicated, Of
the pervasive influences of Ingrcs and
DelacroiX Then silence bcfals. 1t
is the Salon and all it's works being
! haughtily ignored.
Was he attracted at that juncture by
the Barbzon mon? Yes, by Corot.
There arc seven Of that masters works
in the collection, evidently in more
than one Of his manners. The photo
graph gives an enchanting account of
an early mountain scene done in the
Morvan. There are others, like "Le
Pont de Limy," which seem even in a
photograph to be made of the pure gold
of Corot. Moore has note that il
appropriate here, a note on Dcgas at
a Bougival dinner, looking at some
large trees massed in shadow. GLOW
beautiful they would be-" he said, "if
Corot had painted them" There is one
Rousseau, and we observe couple OF
studies by Millct. There is nothing
Of Dupr6, of Diaz, of Daubigny, as
there is nothing, on the purely roman
tic side, of Decamps or Gericault
Troyon, obviously, is likewise absent
One cannot see Degas ecstatic before a
painted cow Barbizon, in short, as
Barbzon, and 1880" as a battle cry, :
is plain, meant nothing to Degas. IL
was bored by Schools" movements, 4"
and VIC know nothing more character
istic of him. Let us revert to that leap
to which we have just alluded. Barring
his pause upon the beauty of Corot, it
took him straight to the camp Of the
New-York tribune., 1918-02-24

For 1T was not an archaeological mood.
1t was the mood for form, for contours
finely drawn, for drapcries handled as
so much sheer linear beauty. 1t was
the mood Of 1ngres. Here we resume
our bundle of photographs and look at
the list.
Montauban itself could hardly fur
nish forth purcr light on the subject.
The collection there is more volumi-
nous, Of course, but it contains no finer
things than the works in the Dcgas col
lection. There is, to begin with,
Monsieur de Norvins," which seems al
most as impressive as the "Bertn" in
the Louvre; a "Maruuis DC Pastorct,"
which makes for it a fit companion, and
TO complete the trio, an unmistakably
superb portrait Of Il lady, this one
"Madame Leblanc" Evidently in paint
cd portraiturc Dcgas contrivcd to get
full and authoritative representation Of
his master; in the matter Of subj iect
pictures he was no less fortunate, ac-
Angcliquc," as we'll as half a dozen
other mythological or historical studies,
and then, having formed Il sufficient
gallery of the paintings, he proceeded
fairly to luxuriate in the drawings
The titles Gil a couple OF pages in .he
list, a veritablc mine of glorious drafts
manship, and the photographs more
than confirm our impression. He missed
no aspect Of the great artists genius.
A study for the "Rogcr" gives US his
measure in the sphere of pictorial in
Ventlon; there are portraits, and dozens
OF the Incompatible nudes, including
one gemlke study for "The Grand
Odalisque." We could dilate upon them
all, one by one. But we turn rather to
their broad significance, visualizing
Degas throughout the years of his ma
'urlty, coming home to that quiet
studio of his to paint a ballet giyl-
but painting under the influence of
these drawings, drinking in their in
spiraton day by day, living constantly
III the spirit of the classicist he adored.
At the bottom of his work YOU find
lngres, which is to say not the imita-
ton of style but the application of a
principle.
1t is an instance of the thinking
artist, that always rare type, the man
whose hand is fed by his brain who
practises his own method, but is stead
lily open to other impressions, allowing
them to fertlize his genius without
governing it. There are no contradic-
tions in the life of such an artist He
does not dislike" aps 1pastsr bssausa
New-York tribune., 1918-02-24
ather Remained
Perfectly Motionless

The door opened. The father entered
On his cmacated face long brown
streaks, made by perspiration and tears
mixed with dust, told of his sorrowful
march through the streets, Of his ex-
haustion and his distress. He sat. down
face in his hands, he remained per-
fectly motionless.
MGlic whispered in confidence to
Moumouche, who was sucking his
thumb:
"Whatever you do, don't cry, you
little bean, you! Papa's in trouble"
Bebert, in corner. was scolding the
gluttonous Julot.
Don't you cat up the sliced bread
with jam. 1t is for papa-all OF it. Let
It alone and I'll fry you fritter."
Suddenly the father lifted his head
and called out in harsh, imperative
voice:
Marie, get ne my civilian clothes.
have just come from the savings bank.
! have drawn out verything-seven
coat and MY cap. I'm going to start at
once 1 know where they are. He has
taken her to his home in the country.
know it. feel it. Give me my
clothes. Pm going to take the train.
Let them look out if find them.'
"But, papa" the little housekeeper
answered gently, "you know that you
have to 60 back this evening. Your
leave is over. 1t says SO in your
papers"
"Does it?" groaned the man, staring
at her with haggard eyes.
eyes, you must so back. The con-
cierge told me that those who don't go
back to the front are shot. Dear papa,
we should like to have you stay. But
some time the police would find YOU"
me my clothes"
ooh, papa You have only two hours.
1t says in your paper that you must'-
Give me my clothes!"
Nellie stole quietly up beside her
sister
Don't give them to him!"
But the little housekeeper knew life.
She made d gesture Of impatience and
said, scntentiously:
You must never cross men. 1t makes
them stubborn"
The soldier, in thick voice, began
20 mutter threats.
"Ah! If | only get my hands on
them. The wretches. Let them look
out."
Babert and Julot stole up and stood
before their father
"Sec here, papa"
The man looked at them in aston
ishmcnt
Iulot began:
"Maybe Bebert and | could go and
see your general. We would say that
you arc in trouble-that mamma has run
away-that you.want TO hunt for her
that some day you will come back"
Ard that they shouldn't shoot you"
added Bebert. his voice trembling.
The man looked at them for while
New-York tribune., 1918-02-24
Degas as a Collector of
The Art of Other Men
A First View of His Treasures, Presently To Be
Sold in Paris-Ingres, Delacroix and
the Impressionists
By Royal Cortissoz

Architectural
the Fine Building
now of the galleries The spring ope there
middle of month Meanwhile
attraction the dispersal of the practically filing
the for this Beginning tomorrow there & e
the Plaza
afternoon the sale the porceas will be carried
IN at The American Art Galleries
brought together by
Anderson Galleries
on March Reynolds and one or two
eighteenth English
subjects by Rataelo del
of Charles Rembrandt
included the
of George nness, Cornval
striking group modern Standards
yIlecas Domingo and Carlo Ribeya
New-York tribune., 1918-02-24

Lamothe and Lamothe begat Degas--so
the trainers of artistic pedigrces might
put 1T. When Dcgas went to Rome in
the SOS he found. there Ellie Dc
iaunay, whom he had known at La
mothe's; he found Paul Dubois and
Chapu, the sculptors, and his old COM
rade, Bonnat.
All these mon were conservators of
the old French tradition OF classicallv
sound workmanship. He knew in
Rome, too, by tho way, tho composer
Blzet and that intense romanticist
Gustave Moreau, and his relations with
both were sympathetic. But his ideals
remained those Of the Villa Medicis.
inc time-tried, sterling ideals of French
art. Neither the passion of Carmen"
nor the phosphorcscent pagcantry of
Moreau suggests the key in those
formative years to his natural develop
ment. He was nearer to Bonnat (whom
he painted then, wearing a prodigious
top hat, in portrait we remember at
Bayonne) as he was nearer to every
artist dedicated to research into form.
And he had already been initiated into
the circle of Ingres.
HIS initiation would appear to have
dated from his youth. Dcgas was born
IN 1884. He was old cnbugh when he
frcqucnted the house of Nine. Valpin-
con, the masters friend, to profit by
his few encounters there with the
august potentate. Ingrcs lived on until
1867. Doubtless before the end Degas
had precept as we'll as example to
make the mendge Valpincon memora-
bic to him, counsels for the confirma-
ton of which he had only to turn to
the pictures given to his hostess by
her friend. At any rate, it puts no
strain upon the imagination to figure
him as making. almost as though un-
der the eye of lngres, the famous
'Etudc pour Scmiramis," which Ingrcs
himself would not have disdaincd. We
think of Degas as the painter of jock
eys, ballet girls and laundrcsscs. We
forget the picture on which he labored
so devotedly in 1861, this "Scmramis
Building the Walls of Babylon" That
mood of his, we say, long ago went
down the wind. 1t stayed with him, to
tell the truth, down to the day he died. !
New-York tribune., 1918-02-24
He Began to Play
An Old Air

'' And sing. for U.S. begged Julot.
Must | sing?"
Eyes, papa. AS you used 20 do. r.
was lovely Sing, papa"
Yes, I'll sing" said the soldier.
He took out of chest his instru-
mcnt, wrapped in green serge, and be
gan to play an air. LA Valsc bleu."
he announced, in a trembling voice.
Then. for an hour, to the great as
tonishment of the neighbore all the
other lodgers in the house were out'
in the stairways- little lodging re-
sounded with comic refrains, sentimcn-
tai romanccs, cries, laughter. childish
and joyous eXclamations. The little
housekeepcr had become again merely
a little girl. She could not contain
herself. She beat time and kept call
ing out:
Sing some more, papa; sing some
more"
The man sang on resolutely, without
pause. But finally the hour struck.
The little housekeeper became grave
again and asked timidly:
Now, papa, aren't you going7"
Yes" answered the man simply
"The Boches are still there. And thai
is all that counts. l must 90. Marie.
give me my cap"
And this rude warrior. who had sung
so long to please his children. began
furtively TO weep.
The accordion. which he had laid
aside, contracted slightly. oxhaling a
long, long, but still melodious sigh
One might have thought it the sigh o.
human being, as sad and deep-toned
as the lamentation of man.
New-York tribune., 1918-02-24

within, not even his old friends could
feel that they We're made really free of
all his possessions. In perennial dust
and gloom, as Nh. Moore has told us.
shc vast canvascs of his youth were
piled up in formidable barricades, and
though many works from other hands
were visible OH the walls no visitor
ever came away with a precise and
omprehensive knowledge of just what
tie apartment in the Rue Pigallc con-
tanned.
All that was generally known was
that Degas had accumulated a lot of
line things, among which the produc-
tcns OF ngres were conspicuous. The
rest was legend. For art lovers
throughout the world, fascinated by his
own works and doublv interested in the
question Of his taste because it had
Its mysterious aspects, he became a
figure not unlike one OF Balzac's c9l
tcctlonneufS -shadowy, reticent. a lit
tic bizarre, and, in the matter Of fur
AlShing surprises, presumably capable
OF anything. 1t is net too much to say
that the public exhibition of no collcc-
ton Of our time has been awaited with
tithc Of TIE curiosity excited by the
Collection particuli6re Z. Deqos."
And now at last this curiosity is to
tc gratided. His old and modern
paintings and drawings will be shown
IN Paris on March q and %, and will
De sold on March % and 81. Some
three hundred Of his own pictures,
lastels, etc, will be placed on view on
May and and viii be sold on May
D. : and 8. The mere announcement of
New-York tribune., 1918-02-24

tAeSc dates must have in it a certain,
excitement for the connoisscur of
Degas. But through the courtesy of
VI. Durand-Rucl, whose firm is assist
ing IN the organization of the sale. We
rave had the opportunity to examine q
llst OF the 247 pieces in the collection
to be disposed Of next month, a list ac
companied by quantity of photo
graphs. The Tribune is thus happily
enabled to give its readers the first
authenticity documented view of that
EalzacesQue interior over which cur
tain was hung for a long lifetime.
a bundle of photographs is not. or
dlnarily, the most eloquent thing in
the world. but this one is truly re-
Ve@iIng. With its aid, reinforced By
the scant biographical data available,
We may reconstruct something Of the
artists inner life and get that much
closer to the secret of his genius. The
small number of old masters in the
list~an early copy after Cuyp. an
eighteenth century French portrait, =
typically elegant Perronneau, q sketch
by Ilepolo and a couple of pictures OF
saints by FL Grcco-is in no wise to
be misunderstood.
For his old masters Dcgas naturally
went to the museums. He prospered
exceedingly, but he was never rich
enough to make for himself another
Louvre. How he haunted that institu-
ton and the Italian galleries VIC know.
IN his earlier period he was all for
the old masters and the world we'll
lost 1t is said that he spent wear
copying Poussin's Grape Of the Sa
bnes.' and according to George Moore
the copy is as fine as the original.
There are stories, too. of his copvinc
C!ouet and lIolbein, and whether he
studied Ghirlandajo for the same Dur
pose or not it is known that he sa.
severently at the feet of that Renais
sancc Florentinc. NJ. Lcmoisne cites
also copy from Sir Thomas Lawrence.
an ODD type to be found in this GAL
lc1y What was it that he SOUGHT
among the Primitivcs? The answer
IS disclosed the more luminously as VIC
postpone it to the hour of his
ccloslon as an artist.
1t is tempting to the student Of
Degas, familiar with the works char
acteristic of the greater part of his
life, to see him as so essentially allied
to the modern, imprcssionistic group
as to have, otherwise, no anteccdcnts.
she influence Of Ingrcs is often reck
oned with, by commentators on him.
as though it were a deliberately
adopted elixir, something poured out
of bottle. AS matter of fact. the
passion for sound drawing was in his
blood. 1t was that that drew him
to the Primitives. 1t was that that
made him choose the friendships of
his youth. Lamothc, his master at the
Ecole des Beaux-Arts, was the pupil
of lngrcs and Flandrin. Ingres bepat
New-York tribune., 1918-02-24

without answering A huge sob choked
hin. Then he murmurcd:
My little ones-my dear little ones"
The big tears streamed from his
luguDrious eyes.
All at once he was seized and en-
braced by Bebert and Julot by Nellie
and Marie. and covered with kisses, shy
but aldent--on his face. his head and
his hands, while little joyous voices
ctalr7 orcd jn his ears:
Papa, papa. don't you still love us2 e.
For week you haven't told us so. You
will love US always, won't you, dear
papa?"
Suddenly he began to accuse him
self: -.
"No. l haven't been real father.
Because of that wretched woman | was
going to forget my little ones"
He hugged them again, almost.
ficrcely.
"Oh! you hurt me-" cried Melie
Julot was saying:
Yes, while you were or leave It
wasn't very amusing"
The man thought, his eyes closed.
Then he asked:
Marie, what time is it ?"
you have an hour yet. papa
"An hour? Well, my little ones, that
hour is for you. Tell me what you r
want me to do"
'"Play the accordion for u.s." said
Bebort.
New-York tribune., 1918-02-24

he "likcs" another. All is fish that
comes to his net
But you find a pretty clearly defined
catch when you look into the net of an
artist like pegas. After Ingres he was
enthus iastc for Dclacruix, of all mon.
We say "of all men" because the an
tlthesis between Ingrcs and Delacroix
is so strong. Each fairly hated what
the other did. Just why Dcgas, loving
1ngres, loved also his romantic rival is.
we confess, a little difficult to surmisc,
even with the evidence before US. The
evidence, in fact, is SO mixed. The
carly portrait, "Baron dc Schwitzcr,"
New-York tribune., 1918-02-24
an example CT the great craftsman,

an example CT the great craftsman,
Mcnze!.
These things fit INTO the picture,
the picture Ct gallery and a mind.
it Is an ancient axiom that a man is
known by the company he keeps. An
artist is certainly known by his pre-
objections among other artists. That
is why VIC have found so lively an in
terest in a bundle of insensate photo
graphs. ]n the memories they awaken
OF lngres ard DclacroiX, Manet and
Corot, Daumicr and Forain, they IL
illuminate and explain Degas. We know
aim better, and the better understand
his own work, in knowing the masters
with whom he most cared to live
New-York tribune., 1918-02-24

from May 1 to June an exhibition of
painting and sculpture expressive Of
patriotic motives. A prize Of $1,000 will
be awarded to the most meritorious
picture. The purpose Of the affair is
to reflect our spirit of allegiance to
the cause of the Allies. Mr.. L. H..
Blashcld is chairman Of the commit
tee having it in charge.
At the Knocdlcr gallery there opens
tomorrow an exhibition of paintings
and portraits by Mr.. Edmund c. Tar
bell
New-York tribune., 1918-02-24
sGT VE. Bebert! He! Julot! Don't
4 lean out the window so far
Some time you'll fall on the

pavement"
Don't worry, Marie. We're looking
Up tho street to see ii papa IS coming"
Marie shook her head gloomily. At
eleven years, among the poor, a girl is
already a woman. She understands
many things and guesses others.
"Poor papa," sighed Marie "S.nce he
came back on leave he has been look
ng for mamma all over Paris. But it
is certain he will never find her She's
gone for good. She loved the neighbor
better than she loved papa and US For
month she beat US all the time He,
Melie, don't you hear him? Moumouche
is crying. Go and take him up. He is
tired of lying still. When papa comes
back tonight he will be very weary
from walking. They say he keeps
tramping the streets and--worse than
that-that he is always crying. Madame
Pienu told me that All, poor papa!
Hurry up, Bebert, and you, too, Julot!
Papa's bag must be packed. He must
go back to the front tonight I read it
in his papers. I'll have to tell him.
Eut maybe he will remember it him
self in time. Bebcrt, cut the bread,
And you, Julot, make some slices of
bread and jam. Must think Of every
thing all the time? All! Nellie, how
foolish you are. Change Moumouche's
clothes and sprinkle him with powder.
For an eight-ycar- old girl you ought
to know bettcr!"