davidaulloa/AmericanStories huggingface dataset:
Evening star., 1938-04-17

a tour Of the Cathedral, and the aides
who conduct them will also point out
the Jerusalem altar in the sanctuary.
This is made of stones brought from
quarries near Jerusalem. from which
those Of the temple were taken.
THE 10 stones in the pace before the
altar were cut from one sent
from Moses Chapel on Mount Sinai.
1t was there that God spoke to Moses,
giving him the Ten Commandments
to carry to the multitude below, for
Mount Sinai was circled round about
as a sacred mountain, and the people
could not ascend it. It is from this
spot on the pace that the Command
ments are read each Sunday morning.
Five other stones are Of great in
terest some of which are in the wall
OF Bethlehem Chapel. One is carved
IN the form of mama pot from an
ancient Jewish synagogue in China,
one from the first church built in the
city Of Isabella, established by Co.
lumbus on Santo Domingo Island on
AAAH' oSNoIiO VI ~ w Vic ANCW VO III, OlIC
from the spot where Sir Francis
Drake landed in 1879, the st. Hilda
stone from Whitby Abbey, England,
and one from the Appian Way.
1t was along the Appian Way thai
Christ. journeying toward Rome, met
Peter. Lord. where goest Thou?"
asked Peter. ITO be crucified again."
replied the Master. Hearing this, Peter
returned to Rome and his martyrdom.
The little church Of Quo Vadis marks
the spot where this took place.
The Appian Way was also travelled
by Paul, who came in chains to be
tried before Caesar on the Palatine,
from which a stone was sent by st.
Paul's Church in Rome.
There are tapestries. too, in safe
keeping, to which q series of Brussels
Renaissance 18th century has been
added. There are six of these, depict
ing, David Before SAUL" Challenge
Of Goliath" David and Goliath in
Combat" David Beheading Goliath"
THE Triumph Of David" and 1.-The
Madness Of Saul" These will event.
ually be hung on the walls Of the
National Cathedral Of So. Peter and
Paul.
Evening star., 1938-04-17
By Susan Baker.
THOUGH approximately 250,-

N 600 persons visit the National
~ Cathedral each year, few, if
4 a any. realize that quantities of
treasures are waiting suitable dis
play space
Gifts of inestimable value have been
sent from far AND near. In the vaults
the corners of the earth meet among
precious stones, books. laces. manu-
scripts. gold and silver altar vessels
and stones from famous places, such
as Canterbury. From these, which
have been exquisitely sculptured, the
Canterbury Ambon was made and was
set up in the Cathedral, to be first
used today. while the Abyssinian
Cross, presented by Halle Selassie, is
carried in procession.
Many of these gifts are memorials,
the ambon being in memory of
Stephen Langton. Others are given
through desire to be part of this
great house of prayer. the realization
OF George Washington's wish to see
a church for national purposes con-
structed within the Capital. He con-
SSANCu ~ oo IAlc oyHOOl Ol our IalCn
In the principles of religion" said
Gen. Pershing.
1t is fitting that we should count
among its most precious treasures
Gilbert Stuart's portrait of WASH
ington and an authentic letter written
by him to Alexander Spotswood April
8, l777.
This letter was presented by Mrs
Mary Gridley Bell of Lake Geneva,
Wis, who. having passed her Goth
birthday anniversary, desired to see it
safely placed during her lifetime.
THE visitor is entranced by the
jewels that seem to fall upon the
floor through the glorious windows
whose richness tie us to the cathedrals
OF the Old World. From one Of these,
Rheims, many pieces of glass have
come which In all probability will
be placed in windows of the museum
when constructed.
There. too. the important collection
Of laces will be placed to advantage.
lAcemakers Of the l4th and 18th
centuries bent over their needles,
Evening star., 1938-04-17

lustrated reproduction of work Of vio-
let Oakley and the Sermon on TIE
Mount" Illuminated and bound in
vellum with cross Of gold and sap
phires, made and given by Mrs. Bea-
trice Grifith are too precious TO be
exposed unguarded.
At the time Of the coronation Of
former Emperor Halle Selassie of
Ethiopia prayers were said in Beth
lehem Chapel. In recognition Of this
he sent the four Gospels In Amharic,
Evening star., 1938-04-17
Memorials Give Added Interest to Great
Religious and National Shrine
Established Here.

Cathedral in London, an aloha stone
from the school children of HAWAII, a
piece Of the wall lining from the
Knight Templar Church in Jerusa-
lem. tile in Coptic from Dale Alb
bey, Derbyshire. A. D. 1900, and a
brick from the first and oldest church
in Maryland, situated on Kent Island,
are of special interest.
The value of the gift of the crosses
can scarcely be estimated, as each one
brings its own story of devotion to
Christ. They come from many lands
and tell of the spread of Christianity
and the service of the faithful.
Some of the most exquisite are from
the Coptic churches. The Copts en-
braced Christianity when St Mark
went to Alexandria as a missionary,
so in their temples are found many
beautiful specimens.
THE crosses vary in height from
az inches to a professional one,
23l2 inches, which belonged to Pope
Paul about 1905. Older than this one
by 10 centuries is that of Thebes,
made Of bronze
There are Byzantine professional
crosses and one used at marriages
and christenings, where the custom
was to kiss the cross, called "Baiser
de Paix";; several Russian ones, two
from the holy mountain. Mount Athos,
in Greece, two from the mountains
Of Lebanon, copy of the cross of
st. Cuthbert of Lindisfarne, who died
687; copies of HISTORIAN crosses Of
Bagdad and small fine ones worn on
necklaces.
When Queen Dagmar of Denmark
died in 1918, well beloved by all her
people, Pectoral cross of great beau-
ty was placed upon her breast. This
has been preserved in Denmark, but
q copy of it was obtained for our
Cathedral. AL of these are kept in
safety vaults.
Equal to this in historical interest
is the bishops chair. made Of stones
from Glastonbury Abbey. Joseph of
Arimathea founded the Church of
Glastonbury. according to tradition,
In AID. 43. +.
Pilgrims may see this as they make
Evening star., 1938-04-17
EASTER UNIVERSAL
All Lands Celebrate Spring Festival as Did
Ancient Pagans-C Christians Exalted
I by Resurrection.

rally associated 1t with the season of
renewed fertility in the earth.
The Easter bunny's relation to the
season grows out of the fact that
Easter is lunar holiday, dependent
upon the moon for its place on the
calendar. The hare was ancient mans
symbol for the moon.
Like Christmas, Easter has come to
be an occasion for the exchange of
greetings and gifts. Both the sending
OF greeting cards and the exchange Of
more costly presents have gained tre-
mendously during the last decade.
ESSENTIALLY the same in flavor,
Easter ceremonials have many
variations IN different parts Of the
world. Those in England are most
akin to the form of observance in the
United States. From the religious
standpoint they reach their climax in
church services. which feature some
OF the most exalting religious music
that has rolled thunderously from the
heart of man. Community dancing
and singing. sports and feasting are
other appurtenances of the English
Easter celebration. AS in this country,
the egg and the bunny are prominent
properties of childhood's Easter in
England.
For vivid color the seasonal pag-
eants of the Latin countries are un-
surpassed
The religious aspects of the occa-
sion are carried beyond the walls of
the church in spectacular street pro-
cesslons. Realistic tableaux depict in
cldents in the life of the Saviour and
many units of the procession give
animation to masterpieces of art.
In Holland Easter ceremonials are
quite in keeping with the national
Evening star., 1938-04-17

each spring bloom was invested with
high significance. The lily. daf1odil,
crocus, violet. amaryllis, narcissus,
hyachinth, azalea and the tulip are
some Of the flowers which are most
readily identified as Easter blooms.
About some Of them cluster age-old
legends.
Evening star., 1938-04-17

bound in gold and silver, handsomely
illustrated, and an Abyssinian cross
of silver. plated with gold. The for
mer is in the book collection, while
the latter is used in procession.
An interesting portion Of the mu-
scum collection Is made Of stones.
Among these are some from the River
Jordan which have been placed in the
great font to be used IN the new bap-
tistry. Carved stones from st. Albau's
Cathedral in England ana st. Paul's
Evening star., 1938-04-17

contrasted with the rose of Aphrodite.
One OF the most common garden
flowers in ancient times was the
Madonna lily. and its loveliness has
provided themes for poets from the
days of Homer to the present.
Buddhist, Arabian. Egyptian. Ro-
man, Chinese, all revered the lily
Evening star., 1938-04-17

and give 1t an important role in
the seasonal religious observances.
Roman classics relate tales of feasts
among the lilies, and expound the
unearthly beauty of the flower. AS
a symbol of her purity and nobility,
Joan of Arc was crowned with lilies.
The old masters of painting gave lilies
Evening star., 1938-04-17

Most popular as an Easter flower
is the lily. which always has held first
place at this season. Alphabetically
it is said that the white lily was
sprung from the milk Of Hera, queen
Of Heaven and goddess of women and
marriage. AS a plant of purity 1t was
Evening star., 1938-04-17

or CUSTOMS that cluster around
the Easter celebration the variety
and number are almost endless.
America has turned its back upon
some Of those which still retain favor
in other parts of the world. Such
one is the custom of exchanging the
Easter kiss. This form of salutation
was accompanied by the words Christ
Is risen," to which the response was,
HE is risen indeed"
II America has departed from this
ancient practice, it does reach far
back into antiquity for two Of the
Oldest properties Of its Easter observ-
anoe. These are the egg and the
famous Easter rabbit.
The egg was looked upon Is the
symbol Of the universe as created by
an infinite power. As one Of the most
conspicuous OF recreative agents
within his ken. primitive man natu-
Evening star., 1938-07-03

hibitions and galleries were so hung.
Indeed, in some instances when the
walls were higher, the rows were
even more numerous Thus originated
the phrase ION the line" meaning
that work had been accorded place
ment on the first row because OF
merit. To be hung in An academy
exhibition was a very real honor.
But the pendulum has now swung
far in the other direction. When
ever possible exhibitions are now hung
in single line and with space be-
tween each painting. which greatly
adds to effectiveness. Strangely
enough, there are some who feel
that with the new system one does
not get enough for ones money"
when the extra steps required for
the heightened circuit are taken into
consideration. In fact. two sight
seing ladies were heard to complain
bitterly because Of all the wall space
now wasted" in the Corcoran Gal
lery of Art. Be that as it may-and
we cannot please all-the Gellatly
collection will look a hundred per
cent better when it is eventually
hung in the new Smithsonian Gallery.
Turning now to the collection itself,
Evening star., 1938-07-03

koma Park. Those taking part were !:
Willis and Edon Volkmer. Charles
and Ellen Mighell, Rae Archer, Billy
and Isabel Mauger, John and Elaine
Harrison. Don Garriss, Margery and
Marion Saunders. Beverly Clore, Sara
Jane Cousins, Agnes Culleen, Bob
Davis, Anne and Bob Derrick, Susan
Galliher, Grace and Mary Hatcher,
Betty Jackson. Susan and Martha
Jones, Doris Park, Mary Ann Scott
Carol Stedman, Lenore Welsh, Peggy
Weiss, Eva Smythe, Marie Bozievich
and Jean Wilson Seaman.
Margaretta Eckloff, soprano, and
Robert Ewing, baritone, were presented
in recital by lie Roy Lewis on Tuesday,
June IA, ut st. Andrews Parish Hall,
New Hampshire avenue and v street.
Miss Eckloff Is an honor student at
the American University and Mr..
Ewing was the winner OF q recent
local radio contest.
The following pupils of Anne Smith
and Flora Clayton appeared in recital
on Saturday. June Is, at the Mount
Rainier Christian Church: Mae and
Arthur Weidner. Elizabeth Rollins,
Mary Ellen Forsythe, Frances Goliwas,
Phyllis Below Emily Donahue. Lydia
Goss. Mary Ellen Shade. pianist. and
David Parsell. Ann Walker, Vivian
weinstein, Foster Parsell Albert Clarke
and Beth Bon DvHant, violtnists.
Evening star., 1938-07-03

what do we find? Twenty-three paint
ings by Abbott H. Thayer. II by
Thomas W. Dewing. Is by Childe
Hassam, IS by Albert P. Ryder. by
John La Fargo, by Carl Melchers,
l each by Frank w. Benson, Mary
CaSsatt, William Merritt Chase, Paul
Dougherty. Frank Duveneck, George
Fuller, Winslow Homer, George Inness,
Theodore Robinson. Elihu Vedder. j.
Alden Weir; 2 each by Irving Wiles.
Whistler, Sargent, Shannon and Noble,
not to mention 4 by Puvis de Chavan-
mes and few others equally i'm
portant.
THE majority Of these paintings
were produced during what Royal
Cortissoz styles as "the Golden Age"
OF American painting-the three final
decades Of the last century There
were giants in those days and they
were recognized as such. This is not
to say that there may not be giants
again. but in comparison those to
whom we look to carry on the tradi-
ton seem small in stature These
men not only painted well. but saw
beautifully, to them. as Blake put it,
art was means Of conversing with
Evening star., 1938-07-03
'Gigli
After London
Triumph
Tenor One of II
Attractions on
Dorsey List.

A PROPOs Of the forthcoming ap-
pearance in Washington next sea-
son Of Beniamino Gigli whom Mrs.
Dorsey has announced for a recital
here at Constitution Hall on Sunday
afternoon. December 4, 1t Is interest
ing to hear that the erstwhile leading
tenor Of the Metropolitan apparently
captivated British audiences in his
f1rst London appearance since 1881
at Covent Garden in June.
The critic Of the London Stage,
leading British theatrical journal, had
the following to say about Gigli's ap-
pearance there: The chief center
OF interest in this excellent production
cRigoletto') was. naturally, Beniam-
ino Gigli. 1t is always a rich experience
to hear Gigli's warm tenor tones.
Gigli is complete master Of his voice
and can do with 1t exactly what he
wills. One Is never certain which Is
the more astonishing-his exquisite,
high. soft notes, or the strong tones
OF his lower register. His voice is
rich in expressive light and shade
touches and never produces that
monotonous effect which Is often
characteristic Of an experienced
tenor"
Gigli will arrive in the United States
early In October for his first American
engagement of the present tour. This
will be at Detroit, where he sings on
the Ford Hour over the international
network Of the Columbia Broadcastine
System. He will proceed directly to
San Francisco to open the fall opera
season In that city in Andrea
Chenier." the first of seven perform
ances he Is to give with the San
Francisco Opera Co., five in San
Francisco and two in Los Angeles.
Gigli's Washington recital will be
one OF II recital and concerts that
Mrs. Dorsey will present at Constitu-
ton Hall next season, IL on Sunday
afternoons and five on Tuesday eve
nings. Among the noted artists and
attractions to be heard in these series
will be Josef and Rosina Lhevinne.
Nino Martini, the Cossack Chorus.
Gladys Swarthout, Jascha Heifetz
Nelson Eddy, Kristen Flagstad, Kreis-
Ter. Rachmaninof1. Richard Crooks,
Kathryn Meisle. John Charles Thomas
11bbett. Menuhin. Lily Pons. Bidu
Sayao, Josef Hofmann and Gigli.
Evening star., 1938-07-03
Schumann's Lost Concerto
Recorded by Menuhin
Goodman Forsakes Hot
Numbers in Mozart
Recording.

What fmpresses most and carries
the concerto In a convincing manner
is the playing Of Yehudi Menuhin. It
is beauty itself. profound. reverent
and inspired. The exceptional love-
illness OF his tone glows with deeper
hues and his penetration to the inner
meaning Of the music is truly SUBJ
lime. Yet with all this highly SYM
pathetic concentration, the music is
but shadow of what the great COM
poser was in the habit of creating.
However, it Is. undoubtedly, an addi-
ton to the Schumann library, and
certainly q mastery presentation as
lar as Yehudi Menuhin, the Philhar-
monic Symphony Orchestra Of New
York. directed BY John Barbirolle,
and the Victor Co. are concerned.
FAR removed from earthly tribu-
lation is the delightful Quintet
for Clarinet and Strings" by Mozart.
which the Victor Co. has recorded
as played by the Budapest String
Quartet and Benny Goodman, clarinet.
Goodman. who even in his hot" play
ing is noted for his long, finely spun
phrases, is q decided attraction to
this chamber music work. His we'll
grounded musical foundation and his
superb technique match that of the
Budapest artists without any dis
crepancies. This is probably the only
record on which musicians from two
such totally different fields of music
meet as on an equal ground.
The calmness and serenity of this
quintet is refreshing to hear. Con-
structed on the simplest of lines, it
contains a marvellous Intervening of
tonal color between the strings and
the woodwind, the underlying idea Of
which is truly that Of a genius. The
instruments are so perfectly blended
and yet in peculiar enough manner
to give one the impression of an ex-
traordinary beauty in the musical tone.
The serenity of the music is not a
reflection of the mental attitude which
must have been that of Mozart during
the year 1889. when he composed the
quintet. He had practically reached
the peak of his personal and finan-
cial distress, yet, as always, it cast
no shadow on his musical creation.
In patterning the quintet with this
combination of instruments he seems
to have found surcease from his trou-
bles. Intricately crossing each other in
brilliant phrases, the first movement
Is beautiful example of the play of
light and shade by the soft tones CT
the five instruments. The second is
as lovely q movement as one would
wish to hear, tender and reflective,
with the clarinet carrying through
against a muted string accompani-
ment.
The third movement gives more
prominence to the strings in its min
uet style based on a recurrent charm
ing little melody, while the fourth con-
tinues for space the same plan, but
later allowing the clarinet a brilliant
demonstration in rivalry with the,
strings. Mr.. Goodmans performance
of the many difficulties which abound
in the score is astonishing for its
clarity and the exquisite legato which
he employs with such skill. The men,
bers of the Budapest Quartet are mas
ter artists in their line. and their man.
ner of blending with the clarinet in
this number is beautifully accom-
plished. The record number is M-452
OF the Musical Masterpiece series.
Evening star., 1938-07-03
Club Opens Season.
THE Rubinstein Club formally ope

IHE Rubinstein Club formally opened
its 1889 season last Tuesday,
when the new president, Rachel A.
Lang. entertained the officers and the
director Claude Robson. at a buffet
supper. Plans were formulated for the
coming year and the various commit
tee chairmen were named. With the
aid Of the director, = tentative musical
program was arranged for the season.
Other newly elected officers present
at the supper were Edith White, first
vice president; Margaret g. Stafford,
second vice president; Mrs. Iowerth J.
Roberts. recording secretary; Kathleen
Hinman, treasurer; Mrs. Everil
Murphy, corresponding secretary, and
Mrs. Leonard Rossi. librarian.
The Rubinstein Club was organized
In 1908. Mr.. Isaac Cans is . life
member.
Evening star., 1938-07-03
Pleases in Recital.
HOWARD cooMBs, pianist,

HOWARD COOMBS, pianist, Of
Washington gave a recital on
Tuesday. June IA. in the Biltmors
music room, Baltimore, Md, in which
he played program of compositions
BY Bach, Schubert, Chopin, List,
Scriabine. Godowsky and Delibes.
,Dohnanyi.
Mr.. Coombs received his early musi-
cal education from his mother, a we'll
known concert pianist. He later studied
with Burritt Marlowe and finished his
work with Stojowski, Rosenthal and
Godowsky. He won first place a.
Western artist in the Schubert memo-
rial contest, first place as artist-pianist
In the 1894 festival Of allied arts and
the prize OF $3.50 in the Steinway essay
contest.
Evening star., 1938-07-03
By Alice Eversman.

is reported. apropos of the lost"
Schumann violin concerto, that
two grandnieces of Joachim re-
ceived spirit messages" concern
ing 1t. One is purported to have
come from Robert Schumann him.
self. asking for an "exhuma ton OF q
Schumann work for VIOLIN" and the
other from Joachim, who apparently
recognized "he had been intolerant
and that it would make him happy
were you able to correct a mistake
he has committed by refusing to pub
lish such = work" It is supposed
that these messages led to the dis
covery Of the concerto which Yehudi
Menuhin introduced to the music
world last winter. II that were not
enough to appease the spirits Of the
two famous artist friends who are
long since gone 10 their reward. the
Victor Co. has preserved the con-
certo in q recording released this
month by its champion. Menuhin. BY
means Of an invention not yet
dreamed Of during the lifetime Of the
two men SO closely connected in work
and friendship, restitution is made for
all time.
There was much discussion at the
time the concerto was found in the
Berlin State Library and a certain
amount of feeling aroused by the
announcement that Joachim's family
had agreed to waive the terms of
the donation to the hbrary-that the
concerto should not be given out until
100 years had elapsed from the death
Of the composer-and allowed it to be
heard nearly 20 years before the speci-
fled time. Many felt it improper to
disregard the desire Of Joachim, but
others maintained that posterity had
every right to hear it, uninfluenced
by Joachim's peculiar attitude toward
the concerto in his lifetime. Although
he apparently liked it and wrote sew
eral times about it TO Schumann, he
never played it publicly and made
the strange stipulation regarding its
future in his will.
HOWEVER, the concerto was per-
= formed for the first time in pub
lie last year. due to the energetic
interest of Yehudi Menuhin in it. On
November 26, 1897, Georg Kulen-
kampf played 1t with the Berlin Phil
harmonic. directed by Karl Boehm.
and Yehudi Menuhin performed it
with the st. Louis Symphony, Vladi-
mir Golschman conducting, on De-
cember 6 as its American premiere.
He played it later the same year with
the Philadelphia Symphony, the Phil
harmonic Society Of New York and
the Boston Symphony, besides present.
ing 1t in concert with piano accom-
paniment.
Although in a letter to the Victor
Co. Menuhin writes, "Schumann's last
prayer that his violin concerto-in a
way, the creation that laid bare his
soul, still courageous-be heard, is
thus realized" the concerto hardly
lives up to that all-embracing de-
scription. 1t is labored in its form
and lacking in the spontaneity and
vigor which Schumann possessed.
Except for the second movement, the
equal master of orchestral writing
and melodic creation does not domi-
nate. 1t Is the work of one willing
to create but whose inspirational fire
has been extinguished.
Evening star., 1938-07-03

McCann, Katherine OToole, Grace
Lowell, Helen Mattson and Frances
Owens.
Mrs M. r. Spengler presented .
group Of students in piano recital
Friday, June "a, at the American As
ISOLATION Of University Women's Club.
The following pupils participated in
an interesting program: Doris Green,
Eleanor Doran, Joan Peale, Peggy
Williamson, Billie Bonini and HOVER
ton Gravatte. A group of songs were
rendered by Doris Green and Ramona
Newman. Mrs. Spengler was the ac-
companist for the singers.
Hettie Harkness Shear presented q
group of her piano pupils In recital
Tuesday afternoon. June Il, at her
residence, 2637 Military road, Arling-
ton, Va. Those taking part were:
Nora Lee and Henry Hulme, Karl and
Paul schellenberg, Patricia, Shear,
Dolores williams, Mary Ann Corder,
Joan and Carolyn sanderson, Joan
GraefY, lie Roy Gillette. Robert Smith,
Audrey and Adele Wright. Shirley
Phipps, Pauline Potter and Mrs. T. r.
Schellenberg.
Friday, June "a, Mrs. Dudley C.
jackson presented . group Of piano
pupils in . recital at the Z. v. Critten-
den Home. l7o Albany avenue, Ia
Evening star., 1938-07-03
By Nal J. Stuart.

w YH1LE primarily established
A ! to record administration of
wv the Social Security Act the
great files of the Social Sc