davidaulloa/AmericanStories huggingface dataset:
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-06-14
BARRISTERS HEAR BECK
Explains American Constitution to
Members Of British Bar

London. June 14.-Undcr the auspices
Of the University of London. James NJ.
Beck, Solicitor General of the United
States. yesterday delivered at GrayS
Inn. in the presence Of II distinguished
audience of Judges, Ambn bnssadors and
lawyers, the first of his three addresses
on the genesis and the political phil
osophy Of the Constitution Of the United
States.
''lf England and America said Mr..
Beck, "are to act together in the coming
time--and the destinics of the world
are in their kceping-thcn they must
know each other better. and to this end
they must take a greater interest in
each others history"
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-06-14
639,6oo AUTO TAGS ISSUED
State Registration Reported to Be
Nearly 1000 a Oav

Harrisburg. June 1.-THE automo-
bile division of the State Highway De.
pnrtment yesterday issued license plates
No. 630.6O In 1921 the number Of
licenses issued for passenger cars ran
to 635. .265 on the last day of the year.
Applications are being received. here
for automobile registration at the rate
Of 500 to 1000 q day.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-06-14
"PENN.FENWICK BRIDGE?
Name Proposed tby Gloucester His.
torIcaI Society for Delaware snan

The Gloucester County Historical
Society. through its president. Frank
II. Stewart, has asked Mayor Moore
to suggest to the Delaware River
Bridge Joint Commission that the new
bridge be called the Penn -Fenwick
bridge. The Mayor will submit the
matter to the commission.
Fenwick founded the first permancnt
colony of English on the Delaware in
1919.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-06-14

s!ookhart Opponent Spent $e3s7
Ds Moines. June II. - Charles r..
nctett, Of Waterloo, spent SS3S7 .8I
nus campaign for the Republican
issIaAtcrlal n. nomination, according to his
sN OF campaign expenses filed with the
S.cletary Of State. Colonel Smith w.
Dro3kilart, the successful candidate, OK /.
psQeed approximately $3.50.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-06-14
failed b rsvlve her. Death Mad beeA
due, he said. from heart disease largely
caused by the cxcitmcnt Of attending
the funeral.

WILL HIsrORY Repeat ITSELF:
,ngton which give rise TO this query. The
iniiI,s te details Of Political happennes.r ..rt ir
washington are closely ,..osn Watcned ny ne r
pear IeEulariy on tine editorial page Of the
morning PupLiC LEDGER. Make 1t
Habit ,"--Adr.
New-York tribune., 1922-10-01

predecessors. The nation, city and
community now divide the teachers
salaries, but to save it is impossible:
conditions make it so. In the place OF
old, experienced, enlightened readers
(that is, directors), young musicians of
uniformed characters, have been chosen
men who have no other desire or pur-
pose than to compose, direct and make
propaganda for their own works
written or even unwritten. This was
the beginning of the decay of the
school, and here the Mozarteum will
end practically. The Festival Theater
idea was originated by the hotelkeep-
ers and ether business men. The name
of the Mozarteum, which as a matter
of fact has nothing to do with it, but
was always used as decoy, isas nothing
to do with it. ], momentarily, permitted
the use of my name az an advertisements
but care was taken not to do that, since
1T was known for certain that would
expose the whole thing and work
against it. But the sin against trath
was often committed in secret; against
that one is helpless. | alone am work
ing for the Mozart ideal, having de-
voted myself to the Mozart courses and
singing for seven years. Every year
for two months ! give eight lessons
day and take no compensation for
them, but up to now have given the
small returns (small because the pupils
are poor, the conditions Of the country
pitiful and the lessons necessarily
limited to from twelve to fourteen
pupils) to the Mozarteum in the form
Of expenses saved
You will be glad to learn that Mabel
Garrison has been singing with me
every day for the last four weeks. She
sings admirably and is a dear little
body and has n good husband. We
have artistic hours with each other
and | hope you will find that she has
gained voice. She is extremely intelli-
gent and her artistry gives me much
pleasure. My only regret is that she
cannot remain longer, because she has
undertaken large tour in Germany
and Austria, but would prefer to stay
with me, which is an evidence of her
0oOd spnseu
New-York tribune., 1922-10-01

nothing for long time. 1t did excel
lent work for q while, though, oddly,
its reproductive standard was not quite
up to that Of either Paris or London.
Besides the portfolios we nave cited
M. Doucet prompted divers other in
valuable publications. In four install
ments his Soeiete brought out fac
smiles of the drawings by Pisanello
and his school in the Louvre, the ia
nous drawings Of the Codex yaliardi
There are nearly three hundred plates
in the lot. The last precious batch
beoug ht with il mass Of Historical and
critical text by NJ. Guiffrey and the full
est photography that has ever been
dedicated to Pisanello. At the present
moment the Societe is completing its
Eeries Of six volumes devoted to those
catalogues Of eighteenth century
salons and sales which Gabriel de Saint
Aubin annotated with Incompatible
little sketches, most of them in san
guine. Minuteiy edited, these cata-
logues are packed to overlooking with
information that Is 50 much pure gold
to the student Of the period. And
Saint-Aubirl's tiny drawings make by
themselves bewitehing gallery.
Finally NJ. Doucet gave his energy to
the invention and upbuilding of So
New-York tribune., 1922-10-01

ternational concerts of the most mod
ern genre-admirably performed, as /
hear (for l did not attend them)--a
said to have been frightful and have
split the native and foreign public
into two militant camps. | heard as
little of the operas. The singers who
would have interested me had de-
cllned to take part, and second and
third class artists were not worth my
money. l heard only Of new concep-
tion. Donna Anna whispered the
vengeance air into Don Ottavios ear
SO that not soul i'll the theater heard
or understood word or tone. Why?
1t is not permissible to sing or speak
out loud in the open street! But for
me opera is opera
They have laid the cornerstone for
the Fcstspielhans - FESTIVAL theatcr)!
The plan is foreign to my every feel
ing. A large house to hold from 1000
to 5000 persons! What has such a
thing in common with Mozart? Mozart
Is in place only in small, intimate
room, where he belongs. There one
can enjoy his genius to the full. A
large theater destroys everything char
acteristic of him. The interests that
desire the large building are different
and are looking to the performance Of
the most modern music. Strauss and
others following him want to produce
their works. The geniality (Herzig-
keit)--heartiness) of Salzburg, of the
Mozart temple, will be lost as soon as
the amusement-lusting horde enters.
Then Mozart will move out. The little
theater would fulfill its mission with
out the help of an incredible structure,
in which some believe, but concerning
which / have my doubts and which will
result in greater deficit for Salzburg
than is yet imagined. A structure in
moist soil in country plentiful in
rainfalls, unused ten months in year,
is an insanity, a Wahnsinn, instead of
a WGhnfried, which once housed
spirit which no longer inhabits it. 1t
is no longer a place of pilgrimage
only a theater which it is ones duty
to have seen.
"The Mozarteum is practically bank
rupt. The bad management Of indi-
viduals who sought to make a universal
academy out Of the little Salzburg
school has destroyed everything built
up by their industrious and worthy
New-York tribune., 1922-10-01

very different thing from the drawing
as we have been considering it. 1t may
be beautiful work of art, drawing,
say, by Edwin Abbey, but it is work
having special character Of it's own,
it is nothing if not deeply considered.
It bears the same relation to the draw
ing we have in mind that a painting
does. it is work of art elaborated,
finished. There are contemporary
craftsmen who are allied to the old
tradition - Forain, Boardman, Robin
son, Arthur b. Davies, Charles Shan
ron. Yet even these brilliant types
are touched by the self-consciousnes
which lies outside craftsmanship as
the old masters understood it. For
them the making Of a drawing
meant process of thinking aloud in
the quiet Of the studio, the casual re-
lease of jet of emotion, the expires.
sion Of an idea without the crystallixa-
tion of it. To share their moods
through the study Of their drawings
is to penetrate in peculiarly inspir.
ing way into the more mysterious
realms of art. We have, therefore, IL
be doubly thankful to man like
noucet, to ap institution like his
societe, long occupied in placing tho
. 4 i u L.
New-York tribune., 1922-10-01
Nozart's Music i'm
Mozart's Birthplace
The Festival in Salzburg; Recollections of an Earlier
Festival; Lilii Lihmann Frees
Her Mind

years festival performances at Salz-
nufg. a Mozart Festival was held in
salzbnrg in 1879 and then the notion
OF annual festivals in honor t>f Salz-
burg's great son had it's birth. Yut tba
plan died "a-borning" There was n "a.
hsscefsce of the idea in 1891 when the
fiundiedth anniversary OF Mozart's
death was celebrated. The date was
anticipated by a few months for the
sake of attracting the summer tour
'ses---esp specially those who were making
tha pilgrimage to Bayreuth. The
Irlbune's musical pilgrim was devo-
tee at both shrines, and his record of
the deings at both places was set
down in this newspaper at the time
Afterward his story Of the Mozart Cen
tennial found place between book
BINDERS boards in modest little vol
ume entitled Music and Manners in
the Classical Period"~--from a financial
potnt of view Il child of sorrow to the
author and, probably on that account,
doubly dear to him.
But that was a festival over which
the spirit of Mozart spread its wings.
The orchestra of the Imperial Opera of
Vienna was there, with jain at it's
head, and though they had ended their
journey late in the afternoon drcnch-
5ns rain storm in the evening did not
prevent the musicians trudging along
the torch oht
might throw their blazing and smok-
ing fagots into the bonfire at the foot
OF the monument in the Makartplatz
For love of Mozart! Then there were
thousands to listen to the "Reauiem"
IN the Cathedral whose master more
than century before had thrown away
jewel q million times as precious as
any that adorned his mtor, and twice
as many thousands walking and talk
ing and drinking and watching the fire
works in the Mirabelgarten at the out
door festival, and gatherings of fifteen
hundred (because no more could be
admitted) in the Aula Academies at
the concerts of the orchestra, and
few hundred (because the place would
hold no more) at the performance of
"Le Nozze di Figaro" in the little old
theater (only it was "Figaro's Hoch-
zeit," for which / was sorry, for ! do
not like to have Mozart's Italian music
sung to German words any more than
| like MoZart's German music sung to
Italian words). Then there were visits
to the little house in which "Die
Zauberf6te" was composed and to the
room in which Mozart was born,
where l played "Vedrai carino" on his
little spinet (when no one was listen
ing) and wondered whether his father
had bought the piece of Genuine Court
Plaster" preserved in a glass case
among other relics, because the Won
derful. boy had cut his finger in Lon
don, and everywhere and every moment
thought Mozart, heard Mozart, talked
New-York tribune., 1922-10-01

Mozart, felt Mozart, breathed Mozart,
and, like everybody else, rejoiced in
Mozart for four happy days-and then
went to Bayreuth to listen to the
preaching of another evangel which l
found no difficulty in reconciling with
the first
1t was some years later Il do not re-
call how many) that Gustav Mailer
and Lilli lehman revised the festival
idea which has since then been de-
veloped, or expanded into something
apparently as different from that of
thlrty-one years ago as a Boston
Peace Jubilee was from chamber con-
cert in the time of Bach. Something,
too, much to the dista.te Of I.illi Leh-
mann, to judge from letter recently
received bearing the Salzburg date
mark. 1t is personal letter. but I
have her permission to make public
such portions of it as I deem instruc-
tive. | do not believe that The
Tribune could have had a better cor
respondent at the front, though it
might have had one more directly OBJ
servant of the things commented on.
1t is the duty Of critic to endure
and suffer as we'll as to enjoy. Ex-
perience and knowledge are medicine
to the mind (something like this was
inscribed by an ancient Egyptian over
a temple door,, and I wish that Nine.
Lehman had gone to some per-
formances which she ignored and given
us first-hand impressions of them in
stead of the opinions of some of those
who did 60. But she can help us to
realize what the recent festival was
like.
Mme. Lchmann's Comments
"You may have been informed
touching the festivals here The in
New-York tribune., 1922-10-01
Bv II. E. krehbiel

s.ra;eht from the heart-or, as the
rsrmans put it, "fresh from the liver
a NINE. Lii Lehmann's manner OF
Sonpaent on things and persons, espe-
lla'lv when concerned with art !
shall. hope, never forget her account
bf her disagreement with Nine, tosiifia
Wagner when after many years o. ao-
Isnce from the Bayreuth Festivals sFe'
who had taken part in the first series
Ioturned to participate in them AGAIN.
kse had been Rhine daughter,
D.,kyr and the unseen bird III l876
and after she had become the most
s.mous Br;innhilie Of her day she
a.snt back to the Wagnerian mecca to
g,oy the heroine in the Nibelung trag
Ia Times had changed Wagner was
,aaa ard Nine. Cosima was enforcing
,sr conceptions upon the representa-
sans The women differed as to the
,aaHional manner. For one thing,
vaener had associated blue with the
,eIastial characters in the story, for
reasons Of symbolism, and Nine. Wag-
ssr had discovered reasons for red, or
Ehite. or green, or some other color
Ehere was clash at rehearsal.
ah;her questions came up and the tra-
E;sfons we're appealed TO. Nine. Wagner
turned to her son Siegfried to support
bsr contention was it not thus and so
Ehat the master did it in 1876?
aThe little snotnose!" exclaimed
kme. lehman in relating the incident.
mhy. in 1876 my father would not per-
mis him to enter the theater. And he
has asked TO correct my recollection Of
performances in which sang"
After the performance of 'Siegfried"
some Of Nine Wagner's derogatory
bonments on Nine. Lehmann's imper-
Esaatlon Of BYunnhilde reached the lab-
ltr's ears. She threw on her wraps
bnd went straightway to the House
Nahnfried
To the footman "say to Mime.
Wagner that Nine. Lehman wishes to
hpeak with her"
The footman: "But, Nine. Wagner
Is entertaining company and cannot
be disturbed"
"say to Nine. Wagner that ! shall
Wait in the anteroom till she comes"
Nine. Wagner obeys the summons,
beaming apologies and smiles.
Nine. Lehman, standing, with hat
md cloak undoffed: "Mme, Wagner,
rou are the most wonderful woman in
lhe world. What you know about
Everything is inconceivable. One thing
| tell you: About the drama you know
bothing. You call this a Wagner Thea
Pr? It's puppet show. Good night"
! Mozart Festival Three Decades Ago
Nine. lehman, you see, holds no
eaf before her lips, as the Germans
Iay And so it is refreshing and in
ltructive to read a personal letter
Rom her giving her Judgment on this
MUSICAL INSTRUCTION
New-York tribune., 1922-10-01

ing. 1t has published illustrated eaea-
logues of Callot, Saint-Aubin, odilon
Redon and Debucourt. One given TO
the prints from Vatican is soon to
come from the press. SO far as we
know the labor of this society is "a
contints.
1t would be difficult to exaagerats
the debt that we owe to NJ. Doncet. He
has vastly extended the knowledge
and the pleasure which 60 with study
of drawings. There is no other ar
tistlc cult quite so beguiling. In the
very nature of things drawing has a
spontaneity and a personal meaning
that must be subtly diminished when
the same design is carried out ON
canvas or in marble. We look oysr
the artists shoulder as bis thouvht
first takes shape, and tentative shape
at that. The line is fairly tremulous
with the force emanating from his
fingers. 1t has the autographic authen-
ticity of thumb print. 1t flows
when the artist is master--with an
indeScrbably fresh, vibrant power.
re hings suggestion rather than a
tact upon the paper. The paintings OF
bottlcelii are exquisite things. but To
s&yor the very essence of his exquisite
ness you must observe drawing of his
like the renowned Abundance" in the
British Museum. Here ard there among
the few paintings of Leonardo YOU
draw close to his secret. You sense it
IN painting like the great "St. Anne"
But turn to the drawings at Windsor
and elsewhere and you surprise the
last ingredients of the masters tender
I ness, his expressiveness. his almost
mystical ci~quence. 1t is so with
Michael Angelo and Raphael, with
Durer and Rembrandt. They give you
IN their drawings cew to their
genius that you can find in nothing
else they ever did, no matter how
| superb, how characteristic, the finished
painting may be.
FIRST and last the thing that makes
a drawing worth while is just drafts
manship, linear magic, the expression
OF individuality--and beauty-through
particular technical idiom. Tech
n'qne here is the revelation of the
soul Of an artists style. 1t does not
matter what the subject may be. A
master leaves drawing a perfect
thing In itself whether he be working
out an elaborate design or sketching a
torso or hand. But there Is much
else in this field. The spiritual direc-
tion Of the art af Leonardo is disclos.d
III his drawings. In the drawings oithe
eighteenth century French school {vou
have an amazing panorama of tb.
social life OF the time,- a.~ricb doeu.
mentation Of the costume and de-
meanor of people. The portfolios Of
N. Doucet'st Soci6te have performed a
notable service on this point, extend
ing our acquaintance with the social
pageant in an era when the social
pageant mas Of immense Importance.
For the student OF history as we'll az
Tor the student of aesthetics the
drawing has high status.
There has been an odd subsistence Of
tnat status in the drawings of ouf own
time. The art of illustration has had
something TO do with it. The design
made for book or magazine is n
New-York tribune., 1922-10-01
fJkrainiau Chor,,s

A novelty of the concert season will
&c the first concert by the Ukrainian
Chorus at Carnegie Hall next Thursday
night, October 5. Alexander Koshetz
is the conductor of this organization,
which has been called ''human SYM
phony orchestra 2 The program will
include Ukrainian folk lore, canticles.
Christmas carols and works by modern
Ukrainian composers.
The soloists will be Mile. oda Slo-
bodskaja, formerly of the Petrograd
Opera, and Nine. Nina Koshetz, for
merly Of the Moscow Opera, who will
contribute arias and songs by Russian
composers.
New-York tribune., 1922-10-01
y I fhe K ms o. Music and Art

OF francs, but it destroyed unit of
taste and design that was unique.
Back in what we may call his
eighteenth century period NJ. Doucet
developed certain bcnehcent ideas. To
begin with, he established in the Rue
| Spontini biblioth6que that became
| famous 1t is, for the lover of artistic
things, pure joy. The r5oms are on
the ground floor, on both sides Of one
| of those open entrance halls so charac-
teristic of Partisan apartment houses.
The books are all books of art. There
IS print department, too In the more
| sequesteted hooks there are writing
| tables for the student who wants to
Wrestle with his theme in Quiet. The
shelves at his disposal bear one of the
best reference libraries on art in the
world. There is no more syrnnatbetic
| retreat anywhere For the art historian.
| But that was not enough for n. Doucet.
He decided to create the Soejata do
Reproductions des Dessins de Maitres.
HIS fellow collectors naturally backed
him up, opened their portfolios and let
him make his choice. Members were
| as easily acquired. and once wear a
portfolio of about twenty drawings was
| issued to them.
We have had something TO say about
| these portfolios as they nave appeared.
from the beginning, and have no inten-
| tion OF traversing them anew in de-
tail We may simply note that the last
| to be printed, given to drawings in the
| Musee Fabre, Mt Montpelier, and to
others in the collection of the late NJ
| Georges Bourgarel, are on nreciselv
| the high level of their predecessors
From Montpelier we have some en-
| chanting French drawings, modern az
we'll as old. The selections from NJ
| Bourgarel's collection are all of tho
| eighteenth century. But it is of the
| broad significance of NJ. Doucet's uroi-
ect that 1t is more interesting to speak.
lie gave the old cult a new life For
| one thing, the reproductions Of the
societe proved nothing less than mirac-
uIous. They gave absolute facsimiles.
ana their fidelity to the originals in
ciuded not Only every nuance of touch
and color, but the tint of the old oaper
and even the stains it might happen to
bear. To possess the reproductions is.
for all purposes of study and enjoy
ment, to posscss the originals.
incidentally this French scheme was
the cause Of similar activity elsewhere.
In London the Vasari Society was
forthwith established. 1t has been do
ing the same beautiful work. The war
interrupted it, bat in 1890 new
series was begun, and since then sec
ond portfolio has been sent to sub-
scrlbers. The publication for 1921
lies before Us, a sheaf of drawings
from the collection of Mr.. Henry On
penheimer. This amateur began cnly
ABOUT twenty years ago, but he has
protlted by the dispersal of the Hesel-
tine, Lansdowne, Northwick and Penn
broke collections, and the present rep
resentItion Of his cabinets is composed
OF gems. 1t reproduces mastery pieces
by Raphael, Del Carlo, Michael Anreio.
Titan, Tiepolo, Rubcns, Rembrandt.
Goya and SO on. From the German
society that was inspired by NJ. Dou-
! Gets example we have, obviously, heard
New-York tribune., 1922-10-01

Nine. Milton yois. Specialist Teacher
Emily AsAAA104A OF many well known pro-
Bryant S325 fcssisnas 2s3 w, a2d st.
New-York tribune., 1922-10-01
ce'so EIrtado at AeoI;an Hall
Celso Urtado will give recital upon

the &c IN ss a nsens \
invention. Or Th,rsaav evening, Octo.
New-York tribune., 1922-10-01

e Bachelor f e. e as;:.; 4 si 81:
New-York tribune., 1922-10-01

MUSICAL INSTRUCTION
New-York tribune., 1922-10-01

Mme. Lehmann's Comments
"You may have been informed
touching the festivals here. The in
New-York tribune., 1922-10-01

FAUL JELCHEh Pedagogy. l425 broadway
New-York tribune., 1922-10-01

John HELMET y1SL,s ,s' y syg.' srygpAGo0yE =
lALlls1LLrIl. DRY DocK 4nia
New-York tribune., 1922-10-01

LUcIEs DE VANNOZ nansESsH rHESsH
Cenccrts. Instruction. ~ E. 7sth ST.. Ny.
The Dolores star., 1922-08-18
HOW TO EAT

CORN-Pick up the ear of boiled
~ corn with one hand and eat it
from the ear This is in perfectly
good form and is better than cutting
The kernels from the ear at table.
Cherries-Lift the cherry by the stem
% the mouth. and discard the pit into
the right hand. Then lay it on the plate.
Baked Potatoes-Cut them length
wise or crosswise on the dinner plate
If they have not already been opened
in the kitchen. Take the morsels of po-
lato from tn. open skin with the fork.
Do not expedite this by squeezing
;he skin ', 18th the fingers. # you like
10 eat the skin cut the potato with
The skin on with the knife and fork.
Never scrape the skin with the side
VI the fork I get the last morsel.
Berries-All should be eaten with a
fork or spoon excepting Strawberries
which. If they are served with the
nuIls on, are raised to the mouth by
means of the hull and bitten off.
Lobster in the Shell-It is necessary
and quite ull right to pull such sea
,ood apart with the fingers and such
things as shrimps may even be sep
srated and peeled with the fingers.
However great daintiness should be ex-