Evening star., 1928-12-16
BY Aida vREELAND.

Modern art expression. greeting us
on every side, is now making prepara-
tions to greet the kiddies under the
Christmas tree. Not content with its
influence on the adult mind it now
extends coaxing arm to the cradles
inhabitant, dangling before his eager
eyes the latest interpretations of his
favorite toys.
The first of these seen by the writer
were displayed in large numbers and
varieties at the Jubilee Exhibition OF
Contemporary Culture held at Brunn,
the second largest city in Czechoslo-
vakia, In celebration of its tenth year
of independence. They were colorful,
interesting and amusing and We may
confidently expect to find them quickly
taken up in the best playrooms OF the
very youngest social set.
In one of the exhibition playroons
small theater for a marionette show
was built. This was somewhat larger
in size than very spacious bureau
and could easily he constructed by the
amateur carpenter. The cabinet work
was simple and a colorful exterior was
provided by the use of bright blue and
gray paint. The lower portion, about
three feet high, was semi-circular IN
form and had open shelves on either
side as convenient hooks for other toys
or accessories connected with the per-
formance. Above this stood the stage
with curtains draped on each side OF
the square proScenium.
Strung along on the left wall Of the
room were various character dolls with
their 1ife-giving strings ready to take
part in any drama which their youthful
stage manager might choose for them.
In addition to dolls and stage, other
toys and blocks were scattered on the
floor and on shelves, all expressed in
the most bizarre terms of the modernS.
With marvellous economy OF lines,
beast, fish and fowl were created In
wood. And simple as they were, there
was no sense of crudity. On the con-
trary each model showed rare skill in
draughtsmanship and clever under
standing of the main characteristics
embodied in each of these dumb
creatures.
For example, an oblong block slightly
thicker at one end where small round
knob with painted eye and square
bill were placed, signified a duck with
out question. swan hoated into ex-
istence after a long wooden neck had
been inserted into half circle of inch
thick wood tilted upward to indicate
the tail and showing painted rippleS
of blue water on the lower round side.
A wedge with two spiky ears sticking
upward from the pointed end betrayed
a mouse. Near him stood sheep,
curly wool painted with zigzag blue
stripes and composed OF two wooden
senlicircles. The arched side Of the
larger was used for the body while the
small one, attached to the front, pointed
| toward the ground, sheep fashion, in
grazing position The eyes were closed
with the benign peaceful expression Pc
culiar to the species.
Little baby ducks who hadn't yet
reached years of angularity made them
| selves known in two ovalS, one tiny
one for head and bigger one for the
body. These rotund figures followed
dignified parent ducks around in hocks
of six or eight.
All posed for spring into the near
est pond was a wooden green and black
| frog. Though his legs were squared
and his body suggested fish in shape,
he was thoroughly froglike in appear
ance. Any child would Immediately
recognize him.
The complexities of COW as the ar
list sees it were also quite simply
smoothed down by the modernist.
Switching tail with tasseled end, horns,
ears and angular hips were remarkably
revealed In four irregular lines and two
sets of legs. The splotches OF brown
and white color were conclusive proof
of the animals identity.
Perhaps one of the reasons most IA
vorable toward the adoption OF modern
toys in the nursery Is the constant
training in the observation of animal
proportions which children receive from