Evening star., 1934-09-15
THE LIBRARY TABLE
BY SARAH C. BOEERMAN,

ELIZABETHAN PAGEANTRY. A
| Pictorial Survey of Costume and
Its Commentators From c. 1860
1920. BY H. X. Morse. New York:
The Studio Publications
Some Of the reformers of the six
teenth century directed their attention
to the superluxury and extravagances
in women's attire. Stephen Gosson.
a parson, wrote a series of verses en-
titled, in part, "A Glass to View the
Pride Of Fantastical Foreign Toyes
Dailie Used in Woman's Apparell!'
What could any reformer expect, with
a Queen on England's throne who pos
sessed thousands of costumes. of vel
vet, silk, cloth OF gold and silver, en-
crusted with jewels? Mr.. Morse, who
says in his foreword that previous to
his work, with the exception of a
few now rare contemporary works,
there exists to my knowledge no
monograph on costume of this great
era," quotes from a number of con-
temporary descriptions of modes and
manners Of Elizabeth's reign. These
quotations are followed by nearly 100
Illustrations, chiefly from famous
paintings, q few from woodcuts and
engravings found among the illustra-
tions of old books.
Each illustration Is accompanied
by an calculating caption taken from
some Elizabethan author. A glossary
sets forth the meaning Of words con
corning costume of the following or
ders: Civil, professional. ceremonial,
ecclesiastical and military" Under
beard" is the statement: UNLESS a
man were very young. he would in all
probability have worn q beard of
almost any conceivable cut" Descrip-
tions Of different possible cuts follow.
Most American men today would seem
to the Elizabethans very inadequately
clothed. Under cosmetics" Is q quo
tation from Stubbes' The Anatomy Of
Abuses" Q583-95): The women,
many Of them, use to colour their
faces with certain oyles, liquors, un-
guents and waters made to that end,
whereby they think their beautie is
greatly decored." A complete list Of
authors and works cited and an index
OF Illustrations end the volume, which
every one engaged in the specialized
arts Of pageantry and amateur dra-
matics will want to own or at least
consult.
COLOUR IN ADVERTISING. BY
Joseph Binder. New York: The
Studio Publications.
To create effect, that is pleasing
effect. by color, it is necessary to
understand the laws of color. That
would seem almost an axiom, but
some OF the torturing color combina-
tions which appear not only in ad-
Vertising, but in dress, home decora-
ton, everywhere in art and everyday
life, show that 1t is an axiom un-
known to many. Mr.. Binder dis
cusses the value Of color in adver-
tlsing under number of headings:
Inc laws OF color, color harmony and
the poster, prismatic color, stimu-
lating the eye, the psychological ef-
feet OF color, the symbolism of color.
the practical application, consistency
In the color scheme (this is where so
many people 60 astray), color and
the pamphlet. the poster and the
package and the necessity of style.
The first task for the advertising
artist Is the composition of a trade
mark, in which a pictorial conception
Is condensed to formula" The Sec
ond task in the propaganda campaign
IS the design for business paper. The
third task is the arrangement of the
prospectus. Here there is the greatest
opportunity for color. The most rep
resentative form of graphic propa-
ganda" Is the poster, which achieves
its effect at long distance It should
have simplicity without commonplace
ness. The use OF color in packages
goes a long way toward selling the
| goods, given flexible housewives. Some
times traditional reasons hinder the
artist In the free use Of his imagina-
ton.
Certain kinds of food have been
marketed for many years in the same
kind Of package, and housewives re-
sent any change, just as old sub
scribers are definitely hurt by a
change in the traditional cover of
their favorite magazine. For example,
Chinese tea-caddies have an impress
sive psychological effect on the public.
Twenty-Six plates and eight smaller
Illustrations accompany the text, all
|
modernistic as well as colorful. One
| which is real work of art is the
poster OF Dubrovnik, on the Adriatic,
done IN marine blue, black, lemon
yellow and orange.
| LIFT UP THE GLORY. BY the au-
thor of This Bright Summer" New
York: Covici-Friede.
The anonymous novelist again
| frames story In the Vermont noun
tains, which foreordain the type of the
| narrative. Old Issachar Fame Is a
fanatical Puritan to whom the Word
| OF God Is lash, not a means Of COM
fort. In nature he resembles our idea
| OF the Hebrew prophets. He has
three sons, whose struggle for personal
liberty, against the dominant will of
their father, is almost epic. While
1ssachar reads aloud and expounds the
Bible on Sunday afternoon, his wife
| Judith, patient and subdued, thinks
OF her sons, David is thinking of Hes
| ter WEIGH, Luke of Leah Sharpe and
Peter Of Mary Andrews and a little
also Of Leah Sharpe. Issachar sets
| himself to thwart the loves Of his
sons, for to him women are beauty
and wantonnesS, the lure Of the devil"
Tragedy comes first to Peter, trag-
edy of his fathers making, and Peter
hates his father and within the flight
Of one day and night every woman
In town knew that Peter had beaten
| his father and crippled him. David's
love for Hester is dark and secret and
| when she dies in bearing his child he
leaves the town forever. Luke loses
Leah to Peter and submits to his ia
theirs yoke. The climax comes with a
Spring thaw and flood in the valley,
such as Vermont often experiences
Bridges are washed away The valley
people are escaping to higher ground,
but they must pass over one bridge,
which is already giving way. Peter
goes into the torrent beneath the
bridge to brace it with timber. He Is
a giant. Il am stronger than God!"
he shouts. Issachar is the last to
cross the bridge, which Peter is brac-
ing. AS he reaches the center, the