davidaulloa/AmericanStories huggingface dataset:
The Cordova daily times., 1921-08-09
Forestry Quiz to West
 Where Most Of Lumber
 h United States Is Cut

NEW YORK CITY, Aug. S.-Follow- ng preliminary meeting in New York City it is announced that the com nittee of the Chamber of Commerce Df the United States to study forestry problems will make a trip to the Pac- fic Coast In it's endeavor to formu- ate a national forestry policy this national forestry policy committee of
 he chamber will not confine itself to | study of principles embodied in for lstry bills before congress but win make an independent investigation.
 Forest resources in the east and South are reduced to the point where T per cent of the total stand of saw timber lies west of the Great Plains, md over 50 per cent in the three Pa cific Coast states" says a statement ny Charles Lathrop Pack. president of the American Forestry Association, in commenting on the importance of the trip. Our demand upon the latter Is becoming heavier each year and with it our freight bills are becoming lar ger and larger. investigations of a number of large retail lumber compa- nies in southern Minnesota show that the average transportation cost of ma terial handled by them, due primarily to the increasing volume of western lumber which these companies have .;ad to import in order 10 supply the needs of their territory, his increased 262 per cent in the last 15 years, Yet these companies are in a region which only a few years ago was immedi- ately contiguous to the greatest lum. Der producing region of the country, and which might still be a great pro ducer were it's ilde lands productive.
 "Is it not high time that we took steps to cut our freight bills for for est products and at the same time to remove one of the serious causes of freight car congestion, by adopting a program which will put our Sl,000, GOO acres of wholly idle and 2&5.o0o ooo acres of partially idle lands to work?
 Joseph H. Defrees. president of the National Chamber. says it is not the intention of the board of directors of the chamber that the committee should only go into the bills before congress. but that it should endeavor to formu- late general policies of it's own after a thorough study of the whole forestry question. He said there were no limi- tations to it's activities in investiga- ting and reporting on a national for estry policy.
 The committee thereupon decided that it would make an exhaustive study of the subject in all its different phases. In this connection. the com mittee adopted this resolution:
 "Resolved. That there should be CO., operation between federal government ard the states as well as private tim n, nd owners to forward a national forestry policy"
The Cordova daily times., 1921-08-09

Your eyes fitted Compound and stigmatic lenses replaced. See O.- borne.
The Cordova daily times., 1921-08-09

Professional kodak finishing Scar borough. Agency at Cordova drug store.
The New York herald., 1921-05-23
Great landscapes from Japan

Noguchfs book is the way he takes
prints known to us all and then talks
TO us Of his own feelings about them.
In one case he feels the clear silver
like poetical music: in another he
would make us hear choruses of trees
and moon; then the various moods
of rain.
But when the music stops sud-
denly in Hiroshige's pictures you
would see another strange surprise in
them. this surprise which gives us
neither voice nor sound, is strong
enough to make us suffocate. and as
if caught by grief and resentment, we
are only too glad to swoon."
One of the reasons for Hiroshige's
greatness, Noguchi says, is that he
treats the same subjects over and
over again and yet he always pro-
duces new and strange effects. He
calls him the most national landscape
artist of Japan. If he is merely speak
ing of the print designers, believe We
should all agree.
When Mr.. Noguchi tells us that
Hiroshige learned the secret of avoid
ing "femininity and confusion from
The New York herald., 1921-05-23
Seeing England
the first time
ENGLISH WAYS AND BY-wAYs. BY
Leighton Parks. Charles Scribner's
Sons.

ENGLISH WAYS AND BY-wAYs. BY
Leighton Parks. Charles Scribner's
Sons.
Such a volume of experiences and
impressions of English life and ways
as used to be often written in the days
before August, 1914, is this charming
and amusing book by the Rev. DR.
Leighton Parks. Wholly imaginary
we are told, it purports to be a series
of letters written by an American
clergyman and his wife during their
first visit TO England to the author;
and yet it Is rich in just such general
experiences as most Americans had on
such an adventure in the old days be
fore the world was torn up into new
patterns by the world war,
Both writer's of the letters being
young and ardent Americans, both be
ing duly impressed with the beauty
of English scenery and charm of do
mestic life, yet both having a spirit or
revolt against tradition when 1t be-
comes dangerous to progress, their
letters make the most delightful read
ing we have had i'm many a long day.
In fact we We're not quite sure so
much fun was left i'm the world of
books As a book to read aloud and
to select for a gift it is to be depended
upon to give the greatest possible
pleasure to listeners and recipient
The New York herald., 1921-05-23

prints pass the test of the popular Chi
nese verse "Hichigon Zekku" flour
lines with seven words in each) I'VE
generally attach an Importance to the
third line, calling it the line for
change and the fourth is the con-
clusion; the first line is or course the
commencing of the subject, and the
second is TO receive and develop. )"
After which he takes some well known
prints, one of them being reproduced
in the book, and shows that they are
based on this same theory of compost
ton.
/ feel Noguchi was wise in not at
tempting to classify works as being by
the first, the second or the third
Hiroshige. He simply says. talking OF
prints bearing Hiroshige's signature,
which are below his usual standard:
Il shall never care (who will careD
whether they are called the work OF
the second or third" Quite right.
Why should there be this continuous
talk: Don't you think this is by
Hiroshige second?' Why should we
not Judge a work of art for its merit?
Because il might be by Hiroshige
second should we think less Of 1t?
one of the interesting things in
The New York herald., 1921-05-23
The glory of lustre

Interpreter Of lordly craft and
have contributed many numbers to
the half tone illustrations with which
the volume is lavishly adorned.
| had almost wished. as | type these
lines in the presence of few modest
specimens which l have gathered for
the mantelpiece. that there had beer
only a few words more about the
English lustre and the work of some
of our Colonial disciples of the art
but after all what can one expect,
when the author his been in the
presence of some of the most wonder
full examples which the world has
ever known?
To the collector and the antiquarian
this work should prove invaluable
while to the general reader IT Is a
rich storehouse of history and
romance.
The New York herald., 1921-05-23
Rhythm and form are two essentials of art

thropomorphic, and art mas been
based on the human figure. Greek
art treats of man, Renaissance art OF
mon: and Christian art of fallen hu-
manity. whereas in Chinese art man
has always been as "A grain OF sand
upcn the great ocean of life, tone
in the harmony Of the universe, and
like all other living things he finds
his artistic significance IN the spirit
uaI rhythm that flows through all
that lives" In Greek art order and
harmony constitute the ideal. In the
Byzantian art Of the sixth century,
when transcendentalism reached Its
height. literal representation was
more lost sight of than at any other
time in the West. And in Renais-
sance art order and harmony were
again sought, but with a difference:
Christianity was not dead; its stand
ards continued in the conscience OF
mankind. Researches were made into
the formulae of proportion and har-
mony discovered by the ancients. (The
same to which the Investigations of
Messrs. Hambidge and Maratta have
recently been pointing) And from
InERG TEQlSCONtTltE lilt dtNtltNtAVtS i0NH
of the Renaissance deduced direct
relation between art and the infinite,
never. 80 far as known, arrived at by
the Greeks. Both Alberti and Leo
nardo. the two most advanced writer's
on these matters. insisted with much
greater emphasis than ever did Plato,
Aristotle or the Pythagoreans on "the
complete and highminded character"
necessary to q great artist.
fundamentally" says Leonardo,
"an artists work Is subject to the
same laws as natures. His privilege
II to see intuitively. But he only at
tains to this by keeping his mind pure.
his Imagination free from disturbing
influence and not allowing the desire
for money or for other benefits TO oc-
cupy his thoughts. A constant striv-
ing "a dive into the essence OF things
and learn 10 understand their true
essence is the artists pathway TO per-
lection"
THE religion of the Renaissance"
says DR. Siren. was its creative Joy.
its sense OF power in expressing ideal
form and beauty"
The New York herald., 1921-05-23

~ OMANCE and 3lstory ana the
* art impulses of generations
l. ~ gone are all summed up in this
elaborate tome which certainly de-
serves a much more impressive title
than it's titled author has given TO II.
LADY Evans. while she has set forth
a glittering array of facts about lustre
pottery which should hold the illum-
inati the dilettanti and the amateur
I'm thrall. has done far more thar
merely tell the tale of the queen OF
ceramics. She has embodied in this
remarkable and authoritative work,
"I.ustre Pottery" the story of the cul-
lures of mighty nations. One can
read i'm the lines OF this work and
between them the progress OF
dynasties and the struggles OF great
races for the mastery of the world.
The rise of that great craft which
gave to the glaze of the vase and dish
the glory OF molten copper, ana the
metallic sheen Of alloys of tin is traced
back to the great land between the
rivers-the Mesopotamia OF old. From
time immemorial the noble lustre
ware. as shown by Lady Evans, has
been a means by which gallant gem
tlemen sent fond messages to the fair
and kings exchanged compliments and
gifts. When old Omar wrote in his
Rubaiyat OF the loaf OF bread. the
Jug of wine and thou, surely he must
have thought of one of those lustre
coated Jugs. Are we not told. too. by
Lady Evans OF n rare old bottle in
the Goldman collection which sug-
gests the same sentiment? The in
scription is II am wandering In the
desert separated from my well be-
loved. I write these words on this
vessel, that they may he a remem-
brance of me In the year OF the
Hegira 500 C212 A. d., trusting that
she of whom l dream evermore may
refresh herself by putting this pitcher
10 her lips: that she will recognize my
writing and take pity on my love-"
Whether in the desert, or in the
crowded city, the lordly lustre ware,
has carried it's message to the daugh-
tors Of men. 1t is dug out OF the
ruins of Rhages and found In the wake
Of the Moors driven from Spain. and
IL may be traced to the great potteries
Of Italy. Everywhere II has borne the
mark of distinction.
Those who would realize to the fun
the wondrous beauty OF the Hispano-
Moresque plaques and the deep dishes
Of alluring patterns which were made
when the saracen was on the Penin-
sula should by all means read this IN
terpretation OF the art. There Is little
20 be known or sensed about lustre by
the time one has proceeded through
this splendid duarto. All the great
collections, such as those Of Goldman
and Kelekian and Sailing and those
Of the Hispanic Museum here in New
York have furnished material for this
The New York herald., 1921-05-23

Chinese painters and those Occidental
painters I'M whom the tonal method Is
most marked "the greater their sue
cess IN the poetical translation OF real
ity and in the revelation of its inner
significance from the bewildering vari-
ety Of natures color shop the more
nearly they approach the use Of pure
monochrome The best examples Of
this are offered On Western arD by
the later works Of Rembrandt and
velasquez which are tuned in the
color key OF golden brown and silver
gray"
Uccello's battle scenes are excellent
examples Of rhythmic painting. demon
strating the linear method wL~fch de-
pends upon significant line and sculp-
tural form Likewise. Leonardos
drawings Of galloping horsemen, com
pleted in his mind before he touched
the paper flashed from the creative
Imagination Of the artist. Only thus
was 1t possible to achieve such a SUI
premely synthetic rhythm" Rubens
IN his hnnting scenes and Goya in his
pictures Of bull fights represented
similar violent movement with pre-
emLently coloristic or tonal methods
Superfcially the appearance may be
more naturalistic. vet In these, too the
artistic foundation Is an abstraction"
Paulus Potter's famous bun is not.
In addition to rhythm. art has one
other essential--form. Our concept
Of form CONSTITUTES the real founda-
ton for our appreciation Of tho reality
Of material objects" Universal con-
cepts of form are the basic clements
out Of which the visual arts are pro-
duced
An this Dr Siren says in Essay T
The titles OF the others are. art and
Religion" Art and Religion During
the Renaissance" "The Importance of
the Antique TO Donatello' md "a
Gothic Poet OF line" (Parri SpineilD
All these were printed previously as
separate articles between 1912 and
1917. Their appearances in book form
is due to the announcement OF Mr.
Give Bell
The chapters on art and religion are
particularly interesting In the West
man has always been tho centre Of
the universe. Religion has been an
The New York herald., 1921-05-23
BOOKS ON POTTERY ANDPRINTS

seems to me, more masculine and
closer to Chinese art.
Whistler, of course, takes quite a
few lines in Noguchi's book, being the
first Westerner to be influenced by
Hiroshige One of the passages on
this great admirer of Hiroshige is
rather amusing: "It seems that my
imagination's eyes see this wonderful,
Jimmy Whistler with Hiroshige's
color prints right before him, now
Strengthening up his famous spectacles
on his nose, then exclaiming, How
amazing Oh, how amazing"
Lastly let me give you the delight
full little poem which Noguchi wrote
on Whistlers "Battersea Bridge" 1t
is, as Whistler would say, Amazing,
most amazingl" that a Japanese
should have so completely mastered
the English tongue:
A voice of the rockets
To break the sky;
Then the flash
Only to make the darkness intense.
Might ever become that voice?
The light precious, of a moment and
death, is it not that of our lives?
To face only the sky. even for moment,
and forget the land,
The New York herald., 1921-05-23

century showing the location OF the
principal potteries viii aid in the
identification Of the old sites.
Mr.. Pountney's spade has led to the
settlement of various moot questions,
one of the most troublesome of which
concerned the origin of certain ex-
amples of lustred pottery, similar to
numerous copper lustred specimens
known to have come from Spain"
that Owen and several later writer's
had mistakenly attributed to Brisling
ton. BY his excavations on the site
of the Brislington Pottery M. Pount-
ney proved that this ware was not
made at Brislington but in Valencia
Spain, and was imported by the mer-
chants of Bristol.
Another subject upon which Mr..
Pountneys research has thrown new
light is that of the earliest Bristol
porcelain works. He learned that this
enterprise was established on Redcliff
Hill in premises which for almost fifty
years had been owned and used as a
glass house by a family named Low
din. Owing to a misreading this name
has usually been called Lowris. The
discovery of the actual location of
these porcelain works and of their
union in 1852 with the Worcester
Porcelain Company, which had been
founded by DR.. John Wall in the pre-
vious year, is reckoned "one of the
most valuable additions to the history
of English porcelain that has come to
light for many years"
Hugh owen concerned himself pri-
marily with the. porcelain made at
Bristol by Richard Champion and by
devoting alternate chapters to the de-
velopment of the industry and to the
personal achievements of Champion
he gave a comprehensive history. Mr.
Pountney has been able to add new
facts about the enterprise Of Cook
worthy and Champion and to clear up
several obscurities. He shows, for ex
ample. that the increasing importa-
ton of .,heap Chinese porcelain and
the Improvement Of the earthenware
made in Staffordshire made competi-
ton too keen for Champions more
costly porcelain and were largely ac-
countable for his lack Of success.
An informing chapter on stoneware
and redware potteries is followed by
an account of Mr.. Pountney's excava-
tions on the site of St Anne's Chapel
in Brislington, where he was able to
rediscover the exact location and lines
of the old chapel building.
The fact that Mr.. Pountney's book
is sponsored by Mr.. r. l.. Horson and
Mr.. Bernard Rackham, whose names
stand in the front rank as authorities
on English ceramics, is proof that 1t
is q significant contribution to the
literature on the subject Both accord
him high praise in their respective
forewords. That by Mr.. Racllham on
'sThe Place of the Bristol Potteries In
the History of Ceramics" not only sup
plies the general background but also
sums up the more important of Mr..
Pountneys discoveries. Mr.. Hobson's
brief but very appreciative note con-
cludes: His book I feel sure will
be indispensable as a work of refer
ence, for, whether or not his own con-
clusions be accepted as final. the ma
terials which he has so diligently col
lected will be the foundation OF all flu
ture studies of Bristol pottery and
porcelain"
The New York herald., 1921-05-23
ONE THING CLEAR
I'm GREEN ISLES
HISTORY - GLASS

IRISH GLASS. BY NJ. S. Dudley West
! ropp. Philadelphia ]. 3. Lippincott
Company
| MATEURS of Irish glass may
| n not be a very numerous class
= in this country. where ex-
amples of Irish craftsmanship are
usually confined II a comparatively
few pieces of silver. the more gen
orally known Bellek ware and Water
ford glass. But TO them, and to all
collectors of objects of utility that have
become precious arr objects this au-
thoritative and handsome volume of
Mr.. Westropps will afford very
| great pleasure and source of pre-.
else knowledge The text is devoted to
IAN account of glass making in Ire
land from the sixteenth century to the
present day." and its simplicity, clar-
| ity and definiteness comports with
the quoted description. Moreover, the
volume is illustrated with reproduc-
tions of 1sS typical pieces of Irish glass
that are unusually handsome examples
of Photographic work, to which there
have been added 220 patterns and de
signs.
when some twenty years ago frst
took UP the study of Irish glass
writes Mr. Westropr in his preface, Il
found that l could obtain little or no
reliable information, not even the dates
of the Waterford or Cork factories.
| Accordingly l set to work to look UP
the matter for myself, spending great
deal of time in research, which in
volved the examination of many docu
ments, old newspapers, &c. Compare
lively little is now to be found out
about the products of the different
Irish glass manufactures. The his
tory of the glass houses themselves.
| their period, proprletors. &C, is fairly
we'll known, but when we come to the
actual glass itself we find nothing but
few lists, with no details as to form.
cutting or color"
With this scanty background of fact
Mr.. Westropp made an extensive study
of all Irish glass he could find and
has set down the results of his re-
search in this volume. He has definite
ly established the fact that water
fOrd glass mas not the Diue TINT LnaC
has hitherto been ascribed to it, and
also has come to the conclusion that
the more there is learned about Irish
glass the more there is still to learn.
Also that 80 little evidence is now
forthcoming with regard to Irish glass
that it is impossible to be dog
matte" about it. In his seven chapters
the author treats of glassmaking in
| Ireland prior to the end Of the seven
teenth century, describes specifically
the glass houses of Dublin, Gurteens,
Waterford Cork. Drumrea, Belfast,
Newry, Ballycastle and Londonderry
and Irish Glass in General" Be
tween the admirable illustrations and
the clear, concise text the amateur
collector will find this work a most
valuable guide to this little known
field of fine craftsmanship.
The New York herald., 1921-05-23
Reviewed by ROBERT LAURENT.

NCVlGwGu Dy kNoo-ANA
We ought to be pleased at one con-
fession Noguchi makes. He feels that
we Westerners are more advanced IN
understanding Hiroshige's work than
the Japanese themselves. It is very
courteous of Mr.. Noguchi to make the
statement, but can hardly agree with
him.
This new brochure on Hiroshige is
one every lover of japanese art should
have The book is well made, with
over twenty excellent reproductions
not always those we are accustomed
to see in works of the kind. but well
selected, giving one a good idea Of
the artists work. It is also valuable
as a book of reference, giving us Hiro-
shige's different signatures and seals.
Noguchi says that Hiroshige owes
much to Chinese art, having used in
his best work the theory of compost
ton which he had taken from an old
book of Chinese prosody. The author
goes on to show that Hiroshige's good
The New York herald., 1921-05-23
ESSENTIALS m ART BY Osvalt
Siren. John Lane Company
Reviewed by E. w. POWELL


TN his latest researches Or. Oswald
Siren OF the University of Stock
holm, who has lived in this coun-
try and is well known here has come
10 a profound realization that rhythm
il the pulse beat of art" Rhythm
defies analysis" ut is the guiding
principle in creation" 1T is closely
associated with the idea Of organic
life" ut is the pulse Of life 1T is
the pulse Of the universal soul" II Is
70 be found not only IN the dance. ian
music. IN verse. but in the mechanical
operations Of our physical being and
In tho courses Of the heavenly bodies
Dr. Siren has been turning his at
tention 70 Chinese painting and II is
here that the highest and purest ex-
preston Of rhythm In the graphic arts
ia 10 be found Chinese painting is not
realistic but expressionistlc. Chinese
painting Is nterpretative, introspec-
tive IL embodes the inner meaning
that the artist feels Its merit lies
N painting what cannot be seen. but
nevertheless exists. what indeed gives
material objects their sole significance
their spiritual or emotional content.
The great Chinese artists painted only
when they found themselves In the
most harmonious surroundings and
nothing hampered the flow Of the Gre
ativc power" Some of them retired
10 secluded workrooms. where they
burned incense. rapt IN meditative
ecstasy Others lived in remote tracts,
ia the woods or in the mountains. Sit
Ting from morning TN evening out In
tho open, sunk In the contemplation
or natures mystery until the inspira.
tion began to flow Others again In
toxicated themselves nv drink In order
70 reach the condition Of ecstasy nee
essary for the liberation Of the crea-
tive snergy. It wac tho neeting vision.
the indescribable, tht infinite that was
TO be seized and rendered In a fow
living strokes
Rhythm in painting II to be found
not only In line but in tone. and in
The New York herald., 1921-05-23

And become a rider of the winds;
What JOY in parting from life's con-
fusion,
To find n greater song amid the clouds,
The voice of the rocket:
Then the flash
Is It not that of my soul born to please
the people below.
And to take pain of death In his keep
ing alone?
The New York herald., 1921-05-23

Chinese landscape art-I do not agree
with him. Hiroshige may have tried
to avoid it, but in many instances
has he failed. That is one of the
things, if I have any, against Hiro-
shige. He is at times too sweet and
effeminate. Compare him on that
point. for instance, with Hokuju.
Kuniyoshi. Hokusai. They are all, it