The Daily Ardmoreite. [volume] (Ardmore, Okla.) 1893-current, 1918-01-07

done by breaking cylinders, valve
chests, circulating pumps, steam and
exhaust nozzles on main engines, and
by dry firing boilers, ana thus melting
the tubes and distorting the furnaces
in at least one instance probably using
thermit TO make the destruction com
pete.
There We're many instances of minor
and easily detachable destruction, such
as cutting piston and connecting rods
and stays with hack saws, smashing
engineroom telegraph systems. and the
removal and destruction Of parts which
the Germans evidently believed could
not be replaced The most lnsidlous
sabotage was that which was concealed
I'm plugging a steam pipe the method
was to disjoint the pipe and Insert
solid piece of brass which would be
sawed off flush with the joint. The pipe
would then be reconneCted, showing ne
evidence OF having been tampered With
Fire EXtinguishers Filled With Gasoline
indicators We're aStutely reversed II
many instances Numerous fire eXtin'
suishers We're found TO be filled with
kerosene and gasoline Piles of shay.
ings and refuse were strewn about
where fires might be started, open cans
Of Kerosene being found in several OF
these ncendiary traps. There had eyi.
dcntly been a plan to burn the ships
under certain conditions and it is be-
lieyed that the German crews We're
seized and interned somewhat in adj
vance Of their expectations.
, The case Of the Vaterland was quite
different from that OF any other ship.
/ Engineers of the navy department who
examined the big liner declared that
/ inferior engineering had been praCticed
! in her construction She has four
turbine engines ahead and four astern
on four ahafts. All of the head engines
( were found in good condition and all
aged.
! The major portion Of the damage was
credited more to faulty operation than
/ to malicious intent. Cracks were found
lin the casing OF the starboard high.
pressure backing turbine of such size
, as to make it certain that the engine
had not been used on the vessels last
run. Certain documentary evidence
found on the ship corroborated this
/ belief. 1t also indicated that the Water.
| land on her last trip had made less
/ than 20 knots.
/ There was just enough evidence OF
mutilation to warrant full investigation
and the vast mass of machinery, elec.
( trio apparatus, and piping in the Water.
/ land was patiently and doggedly exam.
ined before she was sent to sea. Orig
! nal defects in her engine equipment
were corrected, she was overhauled and
i'm many respects reltted. and on the
whole she was declared a better ship
wher. she entered the service of the
! United States than when she took her
! maiden voyage.
/ '-'>>00'>''-0-0"70'--~1
NAL, shows a gleam of that searchlight.
| 1t Is but sleam, but it is there never
theless: it IS the passion for color that
the American artists are showing. This
must be apparent TO anybody who visits
the winter exhibition of the National
Academy OF Design in New York. The
walls are aglow with color insistent,
inHlsorating color. If there were an
equal passion Tor form an equal under
standing Of form, real desire on the
part OF artists to expand out Of their
aesthetic'cloistered selves into the
larger life Of the world thrstng for
beauty then Europe and America might
be described as drawing near to the
ann OF art namely, TO beautify eX.
!stence.
But the world is still suffering from
the tyranny Of the masterpieces. Every
body wants to paint one: so few, so
very few, have the power. The year
I9l' mas art sun aristocratic, self
c"ntered and exclusive, The practicing
artist has not yet emerged out Of self
lntothe larger life of the world Let
some one throw off the tyranny OF the
masterpiece; let him say to himself
"Avaunt exhibitions and the plush.cov
cred walls of dealers sanctums | will
paint for the people will restore har.
mony to shocked eyes BY means OF color
and FORM
How, it may be asked, can this be
done? First, the artist who sets forth
on this quest must decide where hi.
pictures, which are to be restorers of
harmony shall be placed. This is i'm
portant Environment counts for much
Let the artist select some meetina
place or home of rest with bare, gaunt
walls; let him measure these walls, and
count how many Of his little pictures
they should contain ana let him ar
range the sizes and the positions of the
pictures so that they will be in har
mony with the architecture Of the cham
Der Then let him choose his subjects
remembering that he is not exploiting
his own cleverness, but Interpreting the
beauty of the world to those who dc
not see as much as he sees, or feel a.