FORD, Julia Ellsworth

uncat.

Za Mss.

Notes to Looking Forward (autobiography)

"The Temple of the Universal Spirit" ts.

"Walt Whitman: Seer and Poet" ts and copy

Miscellaneous manuscript material

Pamphlets, Correspondence, Will

An Appreciation by F. H. Bangs

One day Saturday, Sept. 5th was so interesting that we decided to go again to West Kensington. To Little Holland House- Watts- to see the pictures. We met the old butler that lived with Watts. 18 years. He was an intelligent man, quite stout with a round face with many wrinkles. He understood the meaning and had caught the spirit of Watts' pictures. "There is quite a sermon in his pictures - now isn't there" he said to us. He explained all the pictures to us. Many of the pictures were not marked. His present wife's picture. "She is a nice lady she is" he said. "She has a good temperature". There was a picture of Lady Dalrymple, who afterwards lived with Watts. This was after Ellen Terry was his wife, so I suppose she was his mistress. In the same picture was her sister, Mrs. Princeps, Wall Princeps' mother, the artist who started under Watts and afterwards left him his picture we saw in Manchester-"The Golden Gate". We spent a long time in the gallery studying his portraits.

The present Mrs. Watts has lived with him 10 years. The old man said she was a busy woman, working all the time at plaster. She paints too. She must be very much younger than Watts.

The old man's wife used to be the housekeeper for Mr. Watts, and there was a picture of his niece in the gallery painted by Watts. When he saw how interested we were in Watts, he showed us many things that otherwise we would not have seen. He opened a door into a small room, and pointed to several busts--one of Watts, and very good. "I made that myself" he said. Think of all the interesting minds and interesting characters such a man as Watts has come in contact with. He has painted so many of the most celebrated characters of his generation. Browning- Tennyson- Morris- Lecky- Carlyle, Lytton, (son), Meredith, Alfred Gilbert, Swinburne, Martineau & Lords, galore.

(Name of a picture by Watts)" Sic Transit". What I spent I had, what I saved I lost.

What I gave I have (on the picture) Reading the picture by the words that accompany, we take it that the chill and motionless form upon the bier, is a type or symbol of kiss humanity- of human life generally- and that the objects strewn on the floor, indicate the

The ermine robe, the poet's laurel crown, the student's books, the warrior's arms, the goblet of the wine at pleasure, which flowers have crowned so many of the aspects of many sided life . Of them the more worthy have a life, beyond life; they do not die with the giver, but make the tide of life for all who live, broader, fuller, richer. But what of the giver? We trust that those we call the dead are breathers of an ampler day, for ever nobler ends.

Criticism of D. B. Brightwell.

Sunday afternoon, Sept. 7th.

After we left Watts, we decided to go to see the house where
Morris lived, and the house where he held his socialistic meetings. Thay
have a talk and discussion every Sunday night in a long room connected
with his house. It used to be his carriage house, but he gave it up
for this purpose. Mr. Morris' house is called Kelmscott House-Upper Mall
in Hammersmith. It is on the Thames. We entered the meeting house,
and asked Morris' man about the meeting for that night. It was to
be by a Mr. Hill on Liberty and Russia. Mr. Hill belonged to the Fabian
Society. When he saw how interested we were, he asked us if we
would like to go into the garden. It was a long, narrow garden surrounded
by a high brick wall. "Mr. Morris has been very ill", he said, "and
probably will never be well again. It will be a sad loss to the
working men when he dies" Just as we stepped out of the meeting
house, a gentlemen came out of Morris' house. It was Theodore Watts,
the writer. Mary wanted to stay to hear Mr. Hill, but I grabbed her
with all the strength I had left, and hurried her on. I think if I hadn't
she would have been still sitting on the embankment opposite
Morris' house, and I am sure if I had gone to the lecture on the
Liberty of Russia, I would have fallen into a trance that Mary could
not have awakened me from, and I would have been carried home on a
stretcher. I wanted her to go back without me, but she wouldn't. I
think she had an idea I might not turn up again if she lost sight of
me.- A lady on the steamer suggested putting a tag on me, "If lost
please return to Miss Talmage".

Mr.

Well we got into the first seat on top of a buss in front
of "The Civit Cat". It was *might* be, and the lamps were lighted.

*I was a little raw*

Mary comforted herself with a chat all the way home with the
buss driver, who was quite high-toned and elegant. He pointed out
the principal places, and told in a most thrilling way the story of
a fireman, who was very brave during a fire and was dug out of the
"deebri ss" and died in the arms of a brother fireman just after he
was dragged out, saying "Don't tell my dear wife and children how I
died." "Es coffin was placed on the engine and it was driven through

Mr. Ford once came home in
the late afternoon to find Julia's
parlor full of literary lions. Seeing
his young son Hobart and his daughter
Lauren among them, a little bored,
he said: "Come, let's go to the zoo!"
and took them off for a walk in Central
Park.

Monday's

"Domination destroys character",

Julia E. Ford

"If people would only think Peace,
we'd have it," Julia E. Ford

AMERICA IN MIDPASSAGE

by

Charles A. Beard & Mary R. Beard

.........."By 1930 a clearly directed realism was pressing into the novel. In that year Charles Morris in The Seed brought this method to bear on birth control; Cornelia James Cannon in Heirs on the assimilation of aliens; Julia Ellsworth Ford in Consequences, on the opium trade."

I think Jesus the First(historical J.) more remarkable than Jesus the Second, a concoction used by the power of the Church to further its own interests.

J.E.F. (Dec. 30, 1949)

Tell Olive Dargan that she can have all the **kai kai po hix** telepathic conversations with **xhuxux** that she wants. I prefer Akhnaton.

j.e.f. (Dec. 30, 1949)

Julia Ellsworth Ford hated
war in all its forms, and she made
battle for her ideals everywhere
and anywhere almost from the cradle
to the grave.

Besides I'm not Mrs. Ford,
I'm Mrs. Ellsworth.

(On being addressed as Mrs.
Simeon Ford, at age of ninety.)

"Never ask me about dates", JEF

"I never learned the multipli-cation table". JEF

"I would not allow grades to be given for my daughter in school," JEF

"Those damned doves. No brains!" JEF aetat 90 in Florida

"I wouldn't bother with Miss Rade-macher. You can't bother with any church people." JEF

If you don't think for yourself,
you lose your individuality.

- JEF

Most literary men are trivial
characters. -JEF

(Emerson, Whitman, et al., ex-
ceptional)

About Scholars: They have to
read everything to know anything
about anybody. -JEF

How can you go any higher than
the Universal Spirit? -JEF

Children should wander away in
the fields to play with the toys of
Nature. -JEF

I don't think a book should be
tainted with nationality. -JEF
(This anent Elizabeth Goudge's
*Green Dolphin Street*
and the British treatment of the
Maoris)

Drop Job and his boils and
read The Song of Songs. -JEF

Percy Mackaye on one of his
many visits to Rye suffered to the
point of distraction with a migraine
headache. Almost out of his mind
after hitting his head against the
wall for sometime he came running
down stairs in his pyjamas frantic.
Miss Rademacker, secretary, tried
to keep Julia from going to help
him because she thought he was ac-
tually crazy. Julia made him lie
down on a sofa, and cured him in five
minutes by her POWER TO HEAL.

Julia wrote Percy(in her nine-
tieth year) asking him to corroborate
the fact that she healed him, "in
writing" and he ignored her request.

Sometime in the Eighties, Church
saw a copy of Whitman's poems on the
table in Julia's house and commented
to Simeon. "Try to stop her," said
Simeon. Later, Julia read some Whit-
man to Church, pretending that the
poetry was that of an Englishman she
had just discovered. Church praised
it highly and said he thought it the
greatest poetry he had come across
for a long time. He was a bit ir-
ritated when he realized that a trick
had been played on him.

While making her will, Julia wished to declare to the government that her house in Rye had long been a store house for possessions of her children, and that therefore much of the furniture and other impediments was not taxable as part of her estate.

She said that the government could have the squirrels and other damned vermin that they were so anxious to protect and could build a tent for them anywhere on the place.

Frederick S. Church wanted to do a plaster cast of a frog. After completing the job, he took the frog back to the country and the pond from which he had taken him, after several days of careful study in his studio.

Julia's perfect copy of his painting of the Girl and the Bear on the Sea-Saw. Church unable to distinguish between her painting and his.

The kitchen in the Rye house was
below stairs and a realm of its own.
A cook who had been working in the
house for nine years had never seen
Mr. Ford. Once when he was out on
the lawn where he could be seen thru
a window set high in the wall, she
climbed on a chair to get a glimpse
of him, but fell through, and didn't
see him.

Simeon and Julia attended a
play in seats in the Family Circle
and saw there ~~two of their friends.~~
The ~~friends~~ spoke to them between the
acts, and ~~one of them,~~ apologetic,
said that they were just in the
Family Circle for a lark. Simeon
said: "Well, we came here to save
five dollars."

Everytime Julia went to Europe
in order to avoid Hay Fever, Simeon
had a bilious attack. "Your husband,"
said the doctor, "has a fever of 103."
"Goodbye", said Julia.

You forget the baby

Simeon shortly before his death had a prolonged case of hiccups. The doctors couldn't stop them. Julia went up to the third floor of the Rye house where Simeon was sick in bed and as she appeared in the doorway Simeon saw her, rolled over on the otherside, and stopped hiccuping.

POWER TO HEAL

"Get the Hell out of here!" said Simeon, as he turned over, and stopped.

Mary Leslie, an Irish girl,
who was waitress in the Ford home
for many years and who was finally
retired to Ireland, used to know
a great number of anecdotes by heart.
She shouted things she heard at the
dinner table down the dumb waiter
to the cook down stairs who wrote them
down for the entertainment of those
below. At one evening meal, Mary
stood patiently waiting to serve
Mrs. Ford who was discussing poetry
with Witter Bynner. Finally she
interrupted the discussion:
"Is it to be bread, Mrs. Ford, or is
it to be poetry?"

Julia once went up into her
attic and found a woman there sit-
ting on a trunk. She asked her who
she was and what she was doing in
her house. The woman answered: I am

"I've been here,
Mrs. Ford, nineteen years. I am your
cook, and I'm sitting on my own trunk."

On an occasion when John Masefield had been a guest at a luncheon of Mrs. Ford's and the party had retired to the parlor, Mrs. Lamont in a moment of silence said: "O, Mr. Masefield, tell us about love." "Who made that boat?" said Masefield, avoiding the question, and turning to a miniature vessel which had been Mrs. Ford's [mark] made by her son Ellsworth. Masefield so admired Ellsworth's [model] model, for Ellsworth was a sailor like Masefield himself, that he accepted the model as a present and took it back to England with him.

A PERSONAL CRITICISM OF MRS. FORD BY OLD JOHN YEATS

In a letter to Mrs. Ford, dated July 29, 1914 (preserved elsewhere among Mrs. Ford's "literary remains" in the Yale University Library), John Butler Yeats writes, in part: "May I venture on a very dangerous proceeding and make on you a personal criticism. . . You have no self-esteem — so that when you meet a proud man, you meet a man unintelligible to you. Not for worlds would you hurt anyone's feelings — indeed you have a nature so melting with kindness that I don't believe you ever willingly caused any pain to anyone — even when it would be justified — but through pure inadvertence. You will sometimes and perhaps often hurt the feelings and sensibility of a proud man — being as I have said without self-esteem yourself. You cannot understand it in others. . . . In you there is less cruelty than in any person I ever met. In fact it would be better if you had some — as it would make you a little more formidable. In a disturbed district one must carry arms — and N. York Society is a disturbed district. My son owes a good deal to his power of crushing retort."

In another letter, about invitations to Rye, Old Yeats writes, in addition to other reasons: "Rye always depresses me. . . . Then again I don't like Fairies, except in old peasant stories. . . . and there are the mosquitoes and the dread of them."

THE YALE YEATS

Mrs. Ford referred to this photograph of Yeats, signed by him March, 1904, as "The Yale Yeats". It was taken by a New Haven photographer when Yeats visited Yale to deliver his first lecture in the United States, November 16, 1903.

William Butler Yeats first came to the United States in the autumn of 1903, under the sponsorship of his father's intimate friend John Quinn. Mrs. Ford was apprised of the fact that Yeats was to lecture at Yale by her son Ellsworth, then a freshman in the Sheffield Scientific School. Aware of his mother's interest in Yeats and the Irish Literary Renaissance, Ellsworth telephoned her at Rye and told her to "pack up her toothbrush and come up!" Mrs. Ford took the next train for New Haven. There she met Yeats for the first time, and she was so impressed by his lecture that she arranged with John Quinn for a talk by Yeats in New York City on Poetry in the Old Time and in the New". This talk was given December 30, 1903, at 8:30 p.m., at The Arts Club, 37 West 34th Street, before guests invited by Mrs. Ford. According to Mrs. Ford this was the first lecture given by William Butler Yeats in New York City.

Yeats had left New Haven before the photograph here concerned had been developed. As a matter of fact, he had no recollection of where it had been taken, as he had been "intrigued" into the photographic shop unexpectedly. Ellsworth Ford sometime later saw the photograph displayed in the shop window and, after some argument with the photographer, succeeded in procuring six copies for his mother. Mrs. Ford said that she gave copies to John Quinn, William Butler Yeats, Elizabeth Yeats, George W. Russell, John Butler Yeats, having kept the one here concerned for herself.

She was more interested in newcomers, new ideas, experimental workers, than in those already established. She mothered everything that was new, just because it was so, encouraging every one who showed the faintest scrap of talent and even listening patiently to those who had none. More, her goodness did not end with spiritual help. She secretly and tactfully gave away thousands of dollars annually to those among us who needed such help, and took a deep, sympathetic interest in our personal problems. To her I owe a sane knowledge of the sort of personal problems I had hesitated to question my own mother about, and the clean-minded honesty of her answers made over my life in more ways than one. She longed to write herself, but could not, and had to consent herself with minor translations, and books of the anthological type, of which she was very proud. But her desire for creation spread itself like a warming spirit over the more articulate, a never-failing source in time of need, a never-failing companion in the joys of achievement. (From *Laughing Through*, by Nina Wilcox Putnam. 1930)

BOOKS BY JULIA ELLSWORTH FORD
(A Descriptive List)

Pictures by George Frederick Watts. Introduction and selections by Julia Ellsworth Ford and Thomas W. Lamont. New York. Fox, Duffield & Company. 1904.

(A series of reproductions, in platinum prints, mounted, and half-tones, of the most famous pictures of George Frederick Watts, the greatest modern exemplar of the painter of ideas. The reproductions are accompanied by extracts from classic English prose or verse, the whole making a superb art volume. Quarto. 100 pages.)

"A.E." A Note of Appreciation. By Julia Ellsworth Ford. New York. Privately Printed. 1906.

(This little book contains two portrait sketches of "A.E.", George W. Russell, by J.B.Yeats, and five facsimile pages of Russell's poetry and prose in manuscript. The frontispiece is a sketch of "A.E." in act of reading to Mrs. Ford.)

King Solomon and The Fair Shulanite. From "The Song of Songs".
A Poetic Idyl Arranged in Sequence by Julia Ellsworth Ford.
With Illustrations after drawings by Simeon Solomon. New York.
Frederic Fairchild Sherman. 1908.

(A new arrangement of the Song of Songs bringing out most clearly the exquisite story of the Fair Shulanite—the most beautiful of Biblical Idyls. Seven drawings, reproduced in photogravure, by the Pre-Raphaelite artist, Simeon Solomon, wonderfully suggest the mystical beauty of this story of unyielding love.)

Simeon Solomon. An Appreciation. By Julia Ellsworth Ford.
New York. Frederic Fairchild Sherman. 1908.

(A quarto volume, containing in addition to Mrs. Ford's critical appreciation and extensive selections from Solomon's prose "Vision of Love Revealed in Sleep", twenty-two full page reproductions in tint of Solomon's art.)

The Mist. A Little Play in Three Acts. By Julia Ellsworth Ford.
New York. Privately Printed. 1912.

(This little play was produced in London at the Little Theatre, November, 1913, as a curtain raiser to G.K.Chesterton's "Magic".)

Imagina. By Julia Ellsworth Ford. With Illustrations by Arthur Rackham and Lauren Ford. New York. Duffield & Company. 1914.
Reprinted New York. E.P.Dutton & Company. 1923. Still another edition, with illustrations by V. Ulianoff and Lauren Ford. Sutton House. Los Angeles. San Francisco. New York. 1935.

(An exquisite and tender tale of a boy in his wistful dreaming, which suggests the inner world of fantasy that lives in every sensitive imaginative child.)

BOOKS BY JULIA ELLSWORTH FORD (continued);

Snickerty Nick. By Julia Ellsworth Ford. Rhymes by Witter Bynner. Illustrations by Arthur Rackham. New York. Moffat, Yard & Co. 1919. Another edition, handy-size and lacking many illustrations and published at thirty-five cents, the title page reading: Snickerty Nick and the Giant. A play for young people in one act. By Julia Ellsworth Ford. Dramatists Play Service. New York. (1933). Another edition: Snickerty Nick and the Giant. Rhymes by Witter Bynner. Illustrations by Arthur Rackham. Music by Charles Arthur Ridgway. Sutton House. Los Angeles. San Francisco. (1935).
(This play was produced at the Children's Theatre, Heckscher Foundation, New York City. March 1923. It was adjudged one of the best-written plays for children by the Educational Dramatic League, and it has been produced many times at schools throughout the country. The play is included in Montrose J. Moses' anthology of children's plays, *Ring up the Curtain*. Snickerty Nick is composed of two scenes, Winter and Spring, and portrays the original character of a Boy and his little friends who overcome by simple childlike faith and love the cold stubbornness of a lonely Giant. The idea was obviously suggested by Oscar Wilde's charming story "The Selfish Giant", as Mrs. Ford acknowledges. While in California in her later years Mrs. Ford had made four motion pictures in technicolor and sound, called "Snickerty Nick Series", and she delighted to show them for children at schools, hospitals, and theatres.)

Pan and Santa Claus. By Julia Ellsworth Ford. Illustration by Lauren Ford. Quotations from "A Canticle of Pan" by Witter Bynner. New York. E.P.Dutton & Company. 1923. Republished with paper covers, with illustration by V. Ulianoff, under title *Pan and The Spirit of Beauty*. Sutton House Publishers. San Francisco. Los Angeles. 1933.
(This story tells of the mystical union of Pan and the Christ-child. Pan, the personification of the world's natural beauty, in harmony with the Christ-child, ushers in a new consciousness of spiritual reality.)

Consequences. By Julia Ellsworth Ford. Introduction by John Haynes Holmes. New York. E.P.Dutton & Co. Inc. 1929. A second printing, 1930. Another printing: Sutton House. Los Angeles. San Francisco. 1935. (Translated into Chinese, 1932.)
(A novel of contemporary life in England and China. Said *The Nation*: "Mrs. Ford has chosen the novel as her vehicle for a powerful exposé and excoriation of the traffic in opium. In an exciting story which holds the interest to the very end she lays bare the great sin of the West against the East.")

(F.H.B.)

BOOKS BY JULIA ELLSWORTH FORD

Pictures by George Frederick Watts. Introduction and selections by Julia Ellsworth Ford and Thomas W. Lamont. New York. Fox, Duffield & Company. 1904. (A series of reproductions, in platinum prints, mounted, and half-tones, of the most famous pictures of George Frederick Watts, the greatest modern exemplar of the painter of ideas. The reproductions are accompanied by extracts from classic English prose or verse, the whole work making a superb art-volume, as well as one useful to students and connoisseurs of modern painting. Enclosed in a handsome box, with special design, 11x14 inches. Quarto, 100 pages. Cloth, $5.00.)

King Solomon and The Fair Shulamite. From "The Song of Songs". A Poetic Idyl Arranged in Sequence by Julia Ellsworth Ford. With Illustrations after drawings by Simeon Solomon. New York. Frederic Fairchild Sherman. 1908. (A new arrangement of The Song of Songs bringing out most clearly the exquisite story of the Fair Shulamite—the most beautiful of Biblical Idyls. It is illustrated with seven drawings, reproduced in photogravure, by the English Pre-Raphaelite artist, Simeon Solomon, whose drawings wonderfully suggest the mystical beauty and poetry of this glorious story of unyielding love.)

Simeon Solomon. An Appreciation. By Julia Ellsworth Ford. New York. Frederic Fairchild Sherman. 1908. (A quarto volume, containing, in addition to Mrs. Ford's critical appreciation and extensive selections from Solomon's prose "Vision of Love Revealed in Sleep", twenty-two full-page reproductions in tint of Solomon's art. Both the drawings and the "Vision", says The Dial, will well repay the attention which Mrs. Ford asks for them, and which her competent criticism and well-proportioned exposition do much to focus.)

"A.E.". A Note of Appreciation. By Julia Ellsworth Ford. New York. Privately Printed. 1906. (This little book contains two portrait sketches of "A.E.", George W. Russell, by John Butler Yeats, the frontispiece being a sketch of "A.E." while reading aloud to Mrs. Ford. There are also five facsimile pages of poetry and prose in manuscript.)

THE MIST. A Little Play in Three Acts. By Julia Ellsworth Ford. Privately Printed. New York. 1912. (Produced in London at The Little Theatre, November 1913, as curtain-raiser to G.K.Chesterton's "Magic".)

Imagina. By Julia Ellsworth Ford. With Illustrations by Arthur Rackham and Lauren Ford. New York. Duffield & Company. 1911. Another edition with Illustrations by V. Ulianoff and Lauren Ford. Sutton House. Los Angeles. San Francisco. New York. 1935. (An exquisite and tender tale of a boy in his wistful dreaming, which suggests the inner world of fancy that lives in every sensitive imaginative child.)

Snickerty Nick. By Julia Ellsworth Ford. Rhymes by Witter Bynner. Illustrations by Arthur Rackham. New York. Moffat. Yard & Co. 1919. Another edition (lacking in many illustrations and published at thirty-five cents) title page reading: Snickerty Nick and The Giant, a play for young people in one act by Julia Ellsworth Ford. Dramatists Play Service, New York. (1933?). Another edition: Snickerty Nick and The Giant. By Julia Ellsworth Ford. Illustrations by Arthur Rackham. Rhymes by Witter Bynner. Music by Charles Arthur Ridgway. Sutton House. Los Angeles. San Francisco. (1935). (This play was produced at The Children's Theatre, Heckscher Foundation, New York City, March 1923. It was adjudged one of the best written plays for children by the Educational Dramatic League of New York City, and it has been produced many times in schools throughout the country. Snickerty Nick is composed of two scenes—one is Winter, one is Spring—portraying the original character of a Boy and his little friends overcoming by their simple childlike faith and love the cold stubbornness of a lonely Giant. The play is included in Montrose J. Moses' anthology of children's plays Ring up the Curtain. While in California in her later years, Mrs. Ford had four motion pictures in technicolor and sound made for children called Snickerty Nick Series and used them for personal showings at schools, hospitals and theaters.

Pan and Santa Claus. By Julia Ellsworth Ford. Illustration by Lauren Ford. Quotations from "A Canticle of Pan" by Witter Bynner. New York. E. P. Dutton & Company. 1923. (A story showing the spirit of love, which comes to little children on Christmas through the unseen spirit of Santa Claus, and the spirit of beauty through Pan, the one pagan god that still lives.)

Consequences. By Julia Ellsworth Ford. Introduction by John Haynes Holmes. New York. E. P. Dutton & Co. Inc. 1929. Also, Sutton House. Los Angeles. San Francisco. 1935. (Mrs. Ford has chosen the novel as her vehicle for a powerful exposé and excoriation of the traffic in opium. In an exciting story which holds the interest to its very end she lays bare the great sin of the West against the East."-The Nation.) Translated into Chinese, by Chia-Tek Huang. Published in Shanghai. 1932.

BOOKS BY JULIA ELLSWORTH FORD

Pictures by George Frederick Watts. Introduction and Selections by Julia Ellsworth Ford and Thomas W. Lamont. New York. Fox, Duffield & Company. 1904. (A series of reproductions, in platinum prints, mounted, and half-tones, of the most famous pictures of George Frederick Watts, the greatest modern exemplar of the painter of ideas. The reproductions are accompanied by extracts from classic English prose or verse, the whole work making a superb art-volume, as well as one useful to students and connoisseurs of modern painting. Enclosed in a handsome box, with special design, 11x14 inches. Quarto, 100 pages. Cloth, $5.00.)

The Mist. A Little Play in Three Acts. By Julia Ellsworth Ford. Privately Printed. New York. 1912. (Produced in London at The Little Theatre, November 1913, as curtain-raiser to G.K.Chesterton's "Magic".)

Imagina. By Julia Ellsworth Ford. With Illustrations by Arthur Rackham and Lauren Ford. New York. Duffield Company. 1914. Another edition with Illustrations by V. Ulianoff and Lauren Ford. Sutton House. Los Angeles. San Francisco. New York. 1935. (An exquisite and tender tale of a boy in his wistful dreaming, which suggests the inner world of fancy that lives in every sensitive imaginative child.)

Snickerty Nick. By Julia Ellsworth Ford. Rhymes by Witter Bynner. Illustrations by Arthur Rackham. New York. Moffat, Yard & Co. 1919. Another edition (lacking in many illustrations and published at thirty-five cents) title page reading: Snickerty Nick and The Giant, a play for young people in one act by Julia Ellsworth Ford. Dramatists Play Service, Inc. New York. (1933?). Another edition: Snickerty Nick and The Giant. By Julia Ellsworth Ford. Illustrations by Arthur Rackham. Rhymes by Witter Bynner. Music by Charles Arthur Ridgway. Sutton House. Los Angeles. San Francisco. (1935). (This play was produced at The Children's Theater, Hedscher Foundation, New York City, March 1923. It was adjudged one of the best written plays for children by the Educational Dramatic League of New York City, and it has been produced many times in schools throughout the country. Snickerty Nick is composed of two scenes—one is Winter, one is Spring—portraying the original character of a Boy and his little friends overcoming by their simple childlike faith and love the cold stubbornness of a lonely Giant. The play is included in Montrose J. Moses' anthology of children's plays Ring up the Curtain. While in California in her later years, Mrs. Ford had four motion pictures in technicolor and sound made for children called Snickerty Nick Series and used them for personal showings at schools, hospitals and theaters.)

Consequences. By Julia Ellsworth Ford. Introduction by John Haynes Holmes. New York. E. P. Dutton & Co. Inc. 1929. Also, Sutton House. Los Angeles. San Francisco. 1935. (Mrs. Ford has chosen the novel as her vehicle for a powerful exposé and excoriation of the traffic in opium. In an exciting story which holds the interest to its very end she lays bare the great sin of the West against the East."—The Nation.) Translated into Chinese.

BOOKS GIVEN BY JULIA ELLSWORTH FORD

TO

THE YALE UNIVERSITY LIBRARY

Among about eight hundred and fifty books and pamphlets given to the Yale University Library by the late Julia Ellsworth Ford some hundred and fifty titles pertain to China, India, and Japan, indicating Mrs. Ford's life-long interest in those countries. Eighty-one books by or about William Butler Yeats indicate, in part, Mrs. Ford's interest in the Irish Literary Renaissance. Thirty-six of these Yeats books are Cuala Press Editions, and there are Cuala Press books by other authors to the number of twenty-nine. Mrs. Ford found greater stimulus in Walt Whitman than she did in any other poet, and books by or about Walt Whitman number sixty-five. Percy MacKaye was for forty years a close friend of Mrs. Ford (and a principal beneficiary of her bounty). He is represented in Mrs. Ford's gift by forty-three titles, including the $100 signed limited edition of The Mystery of Hamlet King of Denmark, Or What We Will. A Tetralogy - with prelude and postlude. New York. 1950. Books by Mrs. Ford's friend John Masefield number thirty-five.

In Mrs. Ford's gift to Yale there are over one hundred presentation copies to her and books signed by their authors. Presentation copies to her from the following authors are as follows: from Laurence Alma-Tadema(2); from Norman Angell(2); John Kendrick Bangs(1); Granville Barker(1); Witter Bynder(11); Pearl Buck(1); Olive Dargan(5); John Drinkwater(1); Isadora Duncan(1); John Galsworthy(1); Robert Graves(1); Lady Gregory(2); Frank Harris(1); Laurence Housman(4); Douglas Hyde(1); Charles Rann Kennedy(4); Shane Leslie(1); William J. Locke(1); Percy MacKaye(17); Seumas MacManus(1); John Masefield(6); Wilfred Meynell(1); George Moore(1); Josephine Preston Peabody(2); Cale Young Rice(2); John Hall Wheelock(1); Elton Wylde(1); William Butler Yeats(3). Books signed by their authors are as follows: Anna Hemstead Branch(2); Witter Bynder(3); Lord Dunsany(3); John Eglinton(1); Kahlil Gibran(3); Wilfrid Wilson Gibson(3); Edwin Markham(1); Alice Meynell(1); Alfred Noyes(2); George W. Russell, "A.E." (with manuscript signed poems, 2); Siegfried Sassoon(2); William Butler Yeats(11), with one manuscript signed poem); Katharine Tynan(1); Jack B. Yeats(1).

Mrs. Ford knew personally, and in some cases intimately, almost all those writers who are represented above by presentation or signed copies of their books. She entertained most of them at her home in New York City, at her country estate at Rye, New York, or in London or in Dublin. Elsewhere are listed the names of persons who wrote letters to Mrs. Ford, that is, persons who wrote letters that she happened to preserve, letters to the number of about three hundred and fifty, also given to the Yale Library.

(F.H.B.)

LETTERS GIVEN BY JULIA ELLSWORTH FORD

TO

THE YALE UNIVERSITY LIBRARY

Among about three hundred and fifty letters to Mrs. Ford given by her to the Yale University Library are letters from the following persons: from Laurence Alma-Tadema(3); Norman Angell(8); John Kendrick Bangs(5); Granville Barker(1); George Grey Barnard(3); James M. Barrie(1); Cecilia Beaux(2); Laurence Binyon(1); Claude Bragdon(2); Pearl Buck(2); Witter Bynner(56); Gilbert Cannan(7); Bliss Carman(1); Charles Chaplin(1); Padraic Colum(3); Sidney Colvin(1); Walter de la Mare(2); Babette Deutsch(1); Amelia Barhart(1); Robert Frost(1); John Galsworthy(3); Kahlil Gibran(4); Stephen Graham(2); Lady Gregory(2); Arthur Hacker(15); Walter Hampden(1); Syud Hossain(2); Laurence Housman(13); James Huneker(2); Madame Chiang Kai-shek(2); Charles Rann Kennedy(1); Edith Wynne Matthison Kennedy(5); Thomas W. Lamont(3); Shane Leslie(2); William J. Locke(2); Haniel Long(3); Amy Lowell(3); Percy MacKaye(80); John Masefield(9); Edwin Markham(1); Edgar Lee Masters(1); Alice Meynell(3); Francis Meynell(3); E.D. Morel(3); Rose O'Neill(2); Josephine Preston Peabody(6); Ezra Pound(1); Arthur Rackham(9); John Reed(1); Edwin Arlington Robinson(2); Romain Rolland(2); William M. Rossetti(3); Bertrand Russell(2); Ruth St. Denis(2); Siegfried Sassoon(1); Mrs. William Sharp(7); Franz Stuck(1); Sara Teasdale(2); Ellen Terry(5); Oswald Garrison Villard(1); J.W. Waterhouse(5); H.G. Wells(1); Elinor Wylie(2); Elizabeth Yeats(12); John Butler Yeats(13); William Butler Yeats(2), and a four page manuscript letter to his father. (F.H.B.)

Among about three hundred and fifty letters to Mrs. Ford given by her to the Yale University Library are letters from the following persons: from Laurence Alma-Tadema(3); from Norman Angell(8); John Kendrick Bangs(5); Granville Barker(1); George Grey Barnard(3); James M. Barrie(1); Cecilia Beaux(2); Laurence Binyon(1); Claude Bragdon(2); Pearl Buck(2); Gilbert Cannan(7); Bliss Carman(1); Charles Chaplin(1); Padraic Colum(3); Sidney Colvin(1); Walter de la Mare(2); Babette Deutsch(1); Amelia Earhart(1); Robert Frost(1); John Galsworthy(3); Kahlil Gibran(4); Stephen Graham(2); Lady Gregory(2); Arthur Hacker(15); Walter Hampden(1); Syud Hossain(2); Laurence Housman(13); James Hun-eker(2); Madame Chiang Kai-shek(2); Charles Rann Kennedy(1); Edith Wynne Matthison Kennedy(5); Thomas W. Lamont(3); Shane Leslie(2); William J. Locke(2); Haniel Long(3); Amy Lowell(3); Alice Meynell(3); Francis Meynell(3); John Masefield(9); Edwin Markham(1); Edgar Lee Masters(1); E.D. Morel(3); Rose O'Neill(2); Josephine Preston Peabody(6); Arthur Rackham(9); John Reed(1); Ezra Pound(1); Romain Rolland(2); William M. Rossetti(3); Bertrand Russell(2); Ruth St. Denis(2); Siegfired Sassoon(1); Mrs. William Sharp(7); Franz Stuck(1); Sara Teasdale(2); Ellen Terry(5); Oswald Garrison Villard(1); J.W. Waterhouse(5); H.G. Wells(1); El-inor Wylie(2); Elizabeth Yeats(12); John Butler Yeats(13); William Butler Yeats(2), also a manuscript letter to his father; also fifty-six letters from Witter Bynner, and eighty letters from Percy Mackaye.

(F.H.B.)

TO

THE YALE UNIVERSITY LIBRARY

Among about three hundred and fifty letters to Mrs. Ford given by her to the Yale University Library are letters from the following persons: from Laurence Alma-Tadema(3); from Norman Angell(8); John Kendrick Bangs(5); Granville Barker(1); George Grey Barnard(3); James M. Barrie(1); Cecilia Beaux(2); Laurence Binyon(1); Claude Bragdon(2); Pearl Buck(2); Gilbert Cannan(7); Bliss Carman(1); Charles Chaplin(1); Padraic Colum(3); Sidney Colvin(1); Walter de la Mare(2); Babette Deutsch(1); Amelia Earhart(1); Robert Frost(1); John Galsworthy(3); Kahlil Gibran(4); Stephen Graham(2); Lady Gregory(2); Arthur Hacker(15); Walter Hampden(1); Syud Hossain(2); Laurence Housman(13); James Hunter(2); Madame Chiang Kai-shek(2); Charles Rann Kennedy(1); Gertrude Kingston (4); Edith Wynne Matthison Kennedy(5); Thomas W. Lamont(3); Shane Leslie(2); William J. Locke(2); Haniel Long(3); Amy Lowell(3); Alice Meynell(3); Francis Meynell(3); John Masefield(9); Edwin Markham(1); Edgar Lee Masters(1); E.D. Morel(3); Rose O'Neill(2); Josephine Preston Peabody(6); Arthur Rackham(9); John Reed(1); Edwin Arlington Robinson (2); Ezra Pound(1); Romain Rolland(2); William M. Rossetti(3); Bertrand Russell(2); Ruth St. Denis(2); Siegfried Sassoon(1); Mrs. William Sharp(7); Franz Stuck(1); Sara Teasdale(2); Ellen Terry(5); Oswald Garrison Villard(1); J.W. Waterhouse(5); H.G. Wells(1); Elinor Wylie(2); Elizabeth Yeats(12); John Butler Yeats(13); William Butler Yeats(2), also a manuscript letter to his father; also fifty-six letters from Witter Bynner, and eighty letters from Percy Mackaye.

(F.H.B.)

Among about eight hundred books given to the Yale University Library by the late Julia Ellsworth Ford some hundred and fifty titles pertain to the Far East, China, Japan, and India. Books by or about Walt Whitman number sixty-five, and books by or about William Butler Yeats eighty-one. Thirty-six of the Yeats books are Cuala Press editions, and there are Cuala Press books by other authors to the number of twenty-nine. There are forty-three books by Percy Mackaye, including the $100 Signed limited edition of The Mystery of Hamlet King of Denmark, Or What We Will. A Tetralogy - with prelude and postlude. New York. 1950. The books by John Masefield number thirty-five.

Mrs. Ford's gift includes presentation copies to herself from the following authors: from Laurence Alma-Tadema(2); from Norman Angell(2); John Kendrick Bangs(1); Granville Barker(1); Witter Bynner(18); Pearl Buck(1); Olive Dargan(5); John Drinkwater(1); John Galsworthy(1); Robert Graves(1); Lady Gregory(2); Frank Harris(1); Lawrence Housman(4); Douglas Hyde(1); Charles Rann Kennedy(4); Shane Leslie(1); William J. Locke(1); Percy Mackaye(17); John Masefield(6); Wilfred Meynell(1); George Moore(1); Josephine Preston Peabody(2); Cale Young Rice(2); John Hall Wheelock(1); Eleanor Wylie(1); and William Butler Yeats(3). In addition are books signed by their authors: Witter Bynner(3); Lord Dunsany(3); Kahlil Gibran(3); Wilfred Wilson Gibson(3); Edwin Markham(1); Alice Meynell(1), including personal letter laid in.; Alfred Noyes (2); George E. Russell, "A.E.", two books with manuscript signed poems; Siegfried Sassoon(2); William Butler Yeats(11), including one manuscript poem.

Among Mrs. Ford's "literary remains" deposited in the Yale Library are letters to her from the following persons of eminence: Laurence Alma-Tadema(3); Norman Angell(8); John Kendrick Bangs(5); Granville Barker(1); George Grey Barnard(3); James M. Barrie(1); Cecilia Beaux(2); Laurence Binyon(1); Claude Bragdon(2); Pearl Buck(2); Gilbert Cannan(7); Bliss Carman(1); Charles Chaplin(1); Padraic Colum(3); Walter de la Mare(2); Babette Deutsch(1); Amelia Earhart(1); Robert Frost(1); John Galsworthy(3); Kahlil Gibran(4); Stephen Graham(2); Lady Gregory(2); Arthur Hacker(15); Walter Hamden(1); Syud Hossain(2); Laurence Housman(13); James Huneker(2); Madame Chiang Kai-shek(2); Charles Rann Kennedy(1); Edith Wynne Matthison Kennedy(5); Thomas W. Lamont(3); Shane Leslie(2); William J. Locke(2); Haniel Long(3); Amy Lowell(3); Alice Meynell(2); Francis Meynell(3); John Masefield(9); Edwin Markham(1); Edgar Lee Masters(1); E.D. Morel(3); Rose O'Neill(2); Josephine Preston Peabody(6); Ezra Pound(1); Walter Hines Page(1); Arthur Rackham(9); John Reed(1); Romain Rolland(2); William M. Rossetti(3); Bertrand Russell(2); Ruth St. Denis(2); Siegfried Sassoon(1); Mrs. William Sharp(7); Franz Stuck(1); Sara Teasdale(2); Ellen Terry(5); J.W. Waterhouse(5); H.G. Wells(1); Elinor Wylie(2); John Butler Yeats(13); Elizabeth Yeats(12); W.B. Yeats(2), and a letter to his father; also, fifty-six letters from Witter Bynner, and sixty-five from Percy Mackaye.

TO

THE YALE UNIVERSITY LIBRARY

Among about eight hundred books given to the Yale University Library by the late Julia Ellsworth Ford some hundred and fifty titles pertain to the Far East, China, Japan, and India. Books by or about Walt Whitman number sixty-five, and books by or about William Butler Yeats eighty-one. Thirty-six of the Yeats books are Cuala Press editions, and there are Cuala Press books by other authors to the number of twenty-nine. There are forty-three books by Percy Mackaye, including the $100 signed limited edition of The Mystery of Hamlet King of Denmark, Or what We Will. A Tetralogy - with prelude and postlude. New York. 1950. The books by John Masefield number thirty-five.

Mrs. Ford's gift includes presentation copies to herself from the following authors: from Laurence Alma-Tadema(2); from Norman Angell(2); John Kendrick Bangs(1); Granville Barker(1); Witter Bynner(1); Pearl Buck(1); Olive Dargan(5); John Drinkwater(1); John Galsworthy(1); Robert Graves(1); Lady Gregory(2); Frank Harris(1); Laurence Housman(4); Douglas Hyde(1); Charles Rann Kennedy(4); Shane Leslie(1); William J. Locke(1); Percy Mackaye(17); John Masefield(6); Wilfred Meynell(1); George Moore(1); Josephine Preston Peabody(2); Cale Young Rice(2); John Hall Wheelock(1); Eleanor Wylie(1); and William Butler Yeats(3). In addition are books signed by their authors: Witter Bynner(3); Lord Dunsany(3); Kahlil Gibran(3); Wilfrid Wilson Gibson(3); Edwin Markham(1); Alice Meynell(1), including personal letter laid in.; Alfred Noyes(2); George W. Russell, "A.E.", two books with manuscript signed poems; Siegfried Sassoon(2); William Butler Yeats(11), including one manuscript poem; Jack O. Yeats(1).

Among Mrs. Ford's "literary remains" deposited in the Yale Library are letters to her from the following persons of eminence: Laurence Alma-Tadema(3); Norman Angell(8); John Kendrick Bangs(5); Granville Barker(1); George Grey Barnard(3); James M. Barrie(1); Cecilia Beaux(2); Laurence Binyon(1); Claude Bragdon(2); Pearl Buck(2); Gilbert Cannan(7); Bliss Carman(1); Charles Chaplin(1); Padre Pio Colum(3); Walter de la Mare(2); Babette Deutsch(1); Amelia Earhart(1); Robert Frost(1); John Galsworthy(3); Kahlil Gibran(4); Stephen Graham(2); Lady Gregory(2); Arthur Hacker(15); Walter Hamden(1); Syud Hossain(2); Laurence Housman(13); James Huneker(2); Madame Chiang Kai-shek(2); Charles Rann Kennedy(1); Edith Wynne Matthison Kennedy(5); Thomas W. Lamont(3); Shane Leslie(2); William J. Locke(2); Haniel Long(3); Amy Lowell(3); Alice Meynell(2); Francis Meynell(3); John Masefield(9); Edwin Markham(1); Edgar Lee Masters(1); E.D. Morel(3); Rose O'Neill(2); Josephine Preston Peabody(6); Ezra Pound(1); Walter Hines Page(1); Arthur Rackham(9); John Reed(1); Romain Rolland(2); William M. Rossetti(3); Bertrand Russell(2); Ruth St. Denis(1); Siegfried Sassoon(1); Mrs. William Sharp(7); Franz Stuck(1); Sara Teasdale(2); Ellen Terry(5); J.W. Waterhouse(5); H.G. Wells(1); Elinor Wylie(2); John Butler Yeats(13); Elizabeth Yeats(12); W.B. Yeats(2), and a letter to his father; also, fifty-six letters from Witter Bynner, and sixty-five from Percy Mackaye.

LOOKING FORWARD

MEMOIRS OF JULIA ELLSWORTH FORD

I have been told that I am too diverse a person, too profuse in my interests, too dynamic in my will, ever to find leisure or devote myself to the concentrated purpose of writing about myself. I have been told that there is a very important book in my life, not because of myself alone, but because of the very profusion of my interests and the many contacts and associations it has been my privilege to have with outstanding and many very illustrious men and women of my time. Notwithstanding the dilemma implied in these statements by my friends, I feel within myself, now in my eighty-seventh year when I cannot be as physically active as I would, a strong and insistent urgency to set down my memories of things past which continuously rise into my present consciousness as living forces still active, and even of creative value for the future.

In fact, in looking backward upon the events of my life and the persons I have admired and had as my friends, I find that my interests in causes and people have ever been with such as point to the future or look forward to developments which are still in process and really belong more to the future than they do to the past. Thus, in these memoirs, though I look backward I recall in doing so those who ever looked forward. And I, with them, belong to the future world of peace and international understanding, and, in the fields of art, with things which are of the eternal.

Greater than any other inspiration in my life has been the spirit of Walt Whitman. As a young girl I was awakened to the universal force of his genius through the sermons of the great liberal preacher Heber Newton. Since then Whitman has been to me a lifelong passion and daily comrade. One of the strongest of his utterances that influenced me has been the words:

2

GO, DEAR FRIEND. IF NEED BE GIVE UP ALL ELSE AND
COMMENCE TODAY TO INURE YOURSELF TO PLUCK, REALITY,
SELF-ESTEEM, DEFINITENESS, ELEVATEDNESS. REST NOT
TILL YOU RIVET AND PUBLISH YOURSELF OF YOUR OWN PERSONALITY.

These words of Walt Whitman have been as a mainspring to my existence, and
through them I have sought to fulfil that great motto of Alexander von
Humboldt: "The mission of man is to bring his highest gifts to perfection--
and to help others to do likewise."

PERIOD I

I was born at 5 East 31st Street and moved almost immediately to 141 West 47th Street where my brother was born the next year.

When I was ten years old - greatest influence in my life - the mother of my little friend George W. Lawrence died. My mother said: "Bring him to our house." And there he lived with us and was practically adopted by us, up to the time of his marriage. His interests, his tasks, his mind, were all similar to mine, and we had great influence on each other. We used to pore over my father's beautiful library where there were all the standard authors. No cheap reprints in those days. It was a beautiful library.

As my father had wanted to be a literary man himself, he encouraged us to read all we could and gave us a dollar for each book we read, feeling that this was money well spent for education.

We read Shakespeare perhaps more than any other author. We also read Byron, Gibbon's Decline and Fall of the Roman Empire, Tennyson, Scott and Thackeray with avid pleasure. Dickens was always too sad for us, but the books that won my attention most of all were those on China, Egypt and Assyria.

the time of his marriage. His interests, his tasks, his mind, were all similar to mine and we had great influence on each other. We used to pore over my father's beautiful library, where there were all the Standard authors. No cheap rebound books in those days. It was a beautiful Library....

As my father had wanted to be a literary man himself, he encouraged us to read all we could and gave us a dollar for each book we read, feeling that this was money well-spent for education. We read Shakespeare perhaps more than any other author, and we also read Byron, Gibbon's (Decline and Fall of the Roman Empire), Tennyson, Scott & Thackeray with avid pleasure. Dicken's was always too sad for us, but the books that my own attention most of all were those on China and Egypt and Assyria. Even today I trace my sincere and deep love for China, and my two journeys there (once alone) to this early influence; and I can trace the writing of my Novel "Consequences" to this same interest in China's History, coupled as it later was, to my active antagonism with injustice especially to those who cannot defend themselves. This was a philosophical novel and translated into Chinese was circulated throughout China in Magazine form because so many of the novels were written about the poor people and poorer class, whereas my novel was a philosophical novel dealing with international matters-------- Because of my love for Whitman and the Universal Spirit my book made an appeal to the Chinese people themselves, who have much of that spirit. This book deals principally with Britain and the Opium Traffic in China.

## Indignation at Injustice

Justice

Injustice

Indifference

Greed

Justice to me is a fundamental

Justice

&

Injustice

Instinctive rebellion to injustice instigates to indignation and desire to change situation for the better.

"Why don't you mind your own business?"

"Justice is my business! --and the eradication of injustice".

Indifference to injustice creates greed and war.

Dead mother taken into Catholic Church with coffin of child left outside.

"You've forgot the baby!"

Wrote a novel when fifteen, reads a bit like Jane Austen.

Rejects Gold Medal.

CHILDHOOD

Wanted to write.

Wrote a novel when fifteen -- Reads a bit
like Jane Austen.

Lightning: name of character
IMAGINA

: operation

Early love of Tennyson and the Arthurian Legends
and Byron -- aroused in me natural sympathy for
the romantic - later developed into an intense
interest in the Pre-Raphaelites and Celtic Literature -
Yeats and the Irish Renaissance.

Significance of interest in Pre-Raphaelites

Spiritualization of the flesh rather
than "fleshly"

(Relation to Whitman and the body)

2

CHILDHOOD

Spirit of Independence

Right to Individuality

Fearless of criticism from childhood.

Own convictions and sense of right.

Mother very artistic woman. Dressed Julia
tastefully and beautifully. Wore Irish poplin
plaid dress with white muslin embroidered apron.
A little girl said:

"What a funny dress you have! It isn't
like any of the rest of us.""
She had a plain brown serge dress.

Julia answered: " There is a good reason for
that. My mother is artistic. Evidently
your mother isn't."

The idea of artistic gowns followed out
during the rest of her life. Refused hoop-skirts,
bustles and corsets. Went often to Liberty's,
London, where they had the most artistic gowns
of any shop in any nation.

3

I have always been called absent-minded -
here is proof of it.

When I was about fourteen years old, my
brother, my adopted brother and I took a magazine
called "Jack Harkaway". It was melodrama - very
exciting. Whoever got hold of it first had the
right of it for the day. You didn't need any longer
time than that - it was so exciting. We neglected
our school lessons, stayed up late, and read it
walking on the way to school.

One day I was so engrossed in the story that
my white flannel embroidered petticoat fell off and
dropped to the ground. I stepped over it without
looking and walked on. A gentleman - a very shy
gentleman - rolled it into a ball and said:

"Miss, you dropped this."

"Oh, no" said I, glancing at this unrecognizable
bundle. Then I caught sight of the embroidered
edge.

"Oh, yes. Thank you" I said, and tucking it
under my arm, went on reading.

This manner of marching had its drawbacks.
I bumped into a fat man - rather a fat man bumped into
me, and I sprawled on the sidewalk, and the petticoat
also - much to the amusement of small boys who unkindly
tittered.

But undismayed I read on. I had to find out
if the hero was saved from the mouth of the lion.

It really was amazing how many people rudely
bumped into me. Crossing the streets I still
read on, but they had no motor cars at that time.
Of course I arrived dusty and late at school.
But what did that matter? I found out the hero
was saved!

---

I always thought absentmindedness was a
bed trait, until one day I was riding in my
electric victoria with Edith Wynne Matheson,
that delightful actress, who played so charmingly
in Sister Beatrice. I was one of the first
women to drive a car. My husband flatly refused
to ride with me for two reasons: the idea of a man
riding with a woman at the wheel, and risking his
life! - neither did he care to be seen with a woman
driving him. (This was many years ago).

I asked my friend : "Do you mind riding
with me? - I am considered absentminded, but that dent
in my car was made by a man! I never had an accident."

"Absentmindedness is a form of concentration"
she answered.

I was glad to have this come-back from so
distinguished a lady when attacked by my family.

6

CHILDHOOD

At fifteen I made up my mind never to let a
day go by without helping some one.

Having a _socialistic_ turn of mind, I didn't
feel I had a right to all comforts etc.
without sharing.

When I came into my own money, I gave $200,000
to each of my children so that they could be
independent.

I always spoke my mind, but never forced my
influence

MY MOTHER

Julia's idea of a saint.

Beautiful, gracious, charming, considerate,
just, kind to everyone, fearless,
Serenity and dignity.

Julia never disobeyed her. She often disobeyed
her father.

Mother liked birds and flowers.

I like " " "

Lauren likes " " "

To-day as I sit writing on the upper
porch with flower boxes and bird trays WHEREX
birds come continually to feed - especially
blue jays. Wherever I go, birds are my friends
Mother a very artistic woman. xDREXXEX

9

CHILDHOOD

Story

Dead Mother taken into Catholic
Church with coffin of child left
outside

"You've forgot the baby!"

Rejects gold medal.

Didn't like Sunday School. Silly little
girl put in charge who didn't know what
she was talking about. I didn't like the
way she spoke of Jesus. Got excused by
having stomach ache and wet home.

Mother never got her to go back to S.S.

When twelve Julia had other girls in for tea, or
chocolate twice a month to teach her how to be a
gracious hostess.

CHILDHOOD

When about twelve - hoopskirts.

Nurse named Annie - fat. Julia throws hoop-
skirts under bed. Nurse told Mother.

Mother let Julia give up hoop-skirts. Julia
said she would wear one if her brother Sam
did. Sam wouldn't. Mother never forced.

About 10 or 12 - Refused to say prayers on
cold floor, and every night at the same time
when going to bed, said she would say them
in the morning. Refused to be monotonous.

Wouldn't say Lord's Prayer because she didn't
like it. Didn't like the word "Father" for
"God". God shouldn't have same name as Father -
human being on earth.

Didn't like "Lead us not into evil" (skim game)

( Paragraph on obedience and subservience )

4

HEBER NEWTON'S INFLUENCE

Mother went to the Episcopal Church (All Soul's
Protestant Episcopal) where Heber Newton preached.
He read Emerson, Whitman and Browning from the
pulpit. Charged with heresy by the congregation
and brought before the Bishop because of quoting
Emerson, Whitman and various poets instead of
always quoting from the Bible.

Julia at fifteen never missed the sermons of
Heber Newton if she could help it, but left the
Church when other preachers held the pulpit.

Heber Newton appealed because he was the first to
teach me of Emerson and Whitman and broke down
the narrow creeds which divide. He was a great
humanitarian who transcended sectarianism and
restored the divine to the universal, as far as
Julia is concerned, through such instrumentalities
as Emerson and Whitman

CHILDHOOD

FOR JACKET

Few outstanding people of her time have so completely expressed in their lives Alexander von Humboldt's great motto: "The mission of man is to bring his highest gifts to perfection - and to help others do likewise."

Throughout her extraordinary career, there never was a time when she was not busy perfecting some latent gift of her own, and at the same time encouraging a host of gifted men and women - with advice, inspiration and, where necessary, with money - to perfect theirs.

There are few countries in the world where Julia Ellsworth Ford's understanding and generosity have not left their mark through outstanding literary and artistic achievements of gifted people she has helped and encouraged.

Father gave her a dollar for
every book she read.

Began studying philosophy with
George Lawrence at age of fifteen.

INFLUENCE OF WALT WHITMAN

As a young woman I came upon these words of

Walt Whitman:

"Go, dear friend, if need be give up all else, and commence
to annure yourself to pluck, reality, self-esteem,
definiteness, elevatedness.

Rest not till you rivet and publish yourself of your own
personality."

They stirred me so that I started Reading Whitman from cover
to cover. He gave me courage to stand for my own truth, my
personality, and all that I hold dear in life. These words
of his have been my inspiration and guide all my years!

The spiritual significance of people and events
have always (been of) peculiar interest (to) me.
The fact that I was born in the same year that
Charles Darwin's ORIGIN OF SPECIES was published
is interesting in that I have grown up in a
world in which the influence of that great book
has wrought many changes, and no change more
important than the spiritual perspective given
by the idea of progressive evolution.

EDUCATION OF CHILDREN

You've got to do things
when they are young. Noticed Lauren's
propensity to make pictures. Had pads
and pencils all over house. Lauren
wouldn't draw children. Julia paid
little children secretly to beg Lauren
to draw them. Lauren began drawing
at three.

Julia does not believe in
either marks or examinations. They
interfere with the purpose of learning,
setting false goals which have nothing
to do with the knowledge gained for
its own sake, which is what is im-
portant.

For Autobiography

I have a fundamental mysticism
in my personality. This explains how
I treat people and the way in which I
am able to reach their subconscious
minds and relieve them of their sufferings --
passing into them a spiritual quality, a universe
a universal consciousness which is part
of my temperament, the way I react to
spiritual forces.

CALIFORNIA

SEA ISLAND

FLORIDA

I spent ten winters in California, and then found it
too long a journey to take. I then went to Sea Island,
Georgia, for a winter, and have now been for two winters
at Palm Beach, Florida. I shall winter in Palm Beach as
long as I live. I have a house on Ocean Boulevard over-
looking the ocean, and I never tire of looking out of
my window on the tourquoise-blue water with the white
waves rolling in, the palm trees, the horizon of pur-
ple, and the ever-changing clouds, dark shadows and glor-
ious golden hues, against a blue sky. I take a short
drive every afternoon about sundown to watch these clouds
along the ocean front and by Lake Worth.

I spent one complete year in California, going the
round of the seasons. In addition to my house in Los
Angeles, I had a house on Malibu Beach. There were
mountains in the distance back of my house, and the beach
and ocean in front. I delighted in painting these moun-
tains. My major interest in the West was the organization
known as the Woman Painters of the West. While at Sea
Island, Georgia, with my son Ellsworth two years ago, I
was well enough to paint out of doors, and I painted a
picture of the sand dunes which won a prize in an exhibition
of the Woman Painters of the West, with which group I main-
tain although far distant in the East a friendly relation
and membership.

I have painted little in Florida because of my health.

CALIFORNIA

SEA ISLAND

FLORIDA

(2)

Last year I painted a picture arising from the mysticism
within me. It was based on a dream I had and was called
"Man Rising from Darkness into Light". This picture was
accepted in the Exhibition of the Woman Painters of the
West and received Honorable Mention. It hangs in the
lobby of the Friday Morning Club. The best picture I own
painted while actually in California was one called "Dream
Castle". This picture I conceived in China on seeing the
well-known mountain Shangri-la. (See rear of card re-
productions of this picture, the poem there printed: note
the primacy of **Thought** before Love, Truth, Beauty. See,
in connection with this, the influence of **Huna** and **Melchi-
Zedac**.)

One of my greatest joys and inspirations has been
painting with my son Ellsworth. He has been a great help
to me, and has been with me at times in California, as at
Sea Island, and in Palm Beach. In January 1944, I em-
hibited some paintings of my own in a combined exhibition
of paintings of my son Ellsworth and my daughter Laun at
the Stendahl Galleries, Los Angeles. (See Folder for same.)

I am now in Palm Beach(March 1948) in the throes of
longing to paint another vision I have recently had. (See
description of "The Daughter of the Sun" as given in speech
"Julia Ellsworth Ford to The Woman Painters of the West",
1948. I have done three ocean pictures here at Palm
Beach ...

WILLIAM ROSSETTI

Once when I was in London I went to see William Rossetti, and as we sat talking in his charming library, he told me about the vital impression that reading Walt Whitman's verse had made upon him. Feeling my sincere admiration for Whitman, he said, "I have a letter of Whitman's here." He took up the envelope and said, "I cannot give you the letter, but I think you would value having the envelope which is addressed to me in Walt Whitman's strong, firm hand."

I was indeed very happy to have this. He also gave me a beautiful letter of his sister's, Christina Rossetti, on the same occasion.

For the first time then I heard through him about Anne Gilchrist, the first woman to recognize and proclaim Whitman as a great soul. William Rossetti told me that when he took "Leaves of Grass" to her, she was so thrilled by the new vision of life it portrayed, that she wrote to Whitman immediately.

"For me, the reading the poems is truly a new birth of the soul**** I see that no counting of syllables will reveal the mechanism of the music, and that this rushing spontaneity could not stay to bind itself with fetters of metre. But I know that the music is there and I would not for something change ears with those who cannot hear."

Walt Whitman, Rossetti continued, wrote to him in 1872-

"Nothing in my life or my literary fortunes, has brought me more comfort and support in every way, nothing has more spiritually soothed me than the warm appreciation and friendship of that full-grown woman."

A DELIGHTFUL DISCOVERY

by

Julia Ellsworth Ford

A girl lived in a very beautiful house with her mother.
She had a lover. One day she realized that she was pregnant.
She had promised the man to marry him, but he turned out to
be very ambitious and decided to marry a very rich woman next
door. Although she knew that she was going to have this man's
child, she did not want to tell him, and he left her to marry
wealth.

She wouldn't tell her mother that she was pregnant either.
In that town they were very puritanical. There was a girl in
the town who had had an illegitimate child, and she was in dis-
grace. She had to live alone without seeing anyone, to eat a-
lone, and to live on the top floor. And so the girl we are
talking about assumed that her mother would not tolerate her.

In anxiety she confided her story to a doctor. "My dear
child," he said to her, "here is some money. Go to New York
and have the child in a hospital. Then give it away, or sell
it." As the pregnant girl didn't want to be a disgrace to
her mother like the other girl in town, she did as the doctor
advised.

When the child was born, the doctor found a couple who a-
dopted the child. The nurse in charge during the birth of
the child went along with the child to look after it. The
child was a boy, and the nurse, before taking the child from
its mother, showed the mother a birthmark on the baby boy's
leg. This mark was identical with a like mark on the mother's
leg.

"If you ever see this mark on a child's leg," said the nurse, "you will know that it is your child." The mother was broken-hearted at parting from her baby, but she was happy to know that the nurse was going along with the baby to a beautiful home.

As time passed, the woman, an English woman, who had adopted the little boy, got tired of him, and she ran away from her husband and left the child alone with the man.

Some years later, the mother who had had her baby taken from her, was riding in a compartment on a railway train. Opposite her sat a little boy of the same age her son would have been. The governess of the little boy said that the little boy's mother had run away from the father. This governess was an intelligent woman, and had only recently taken charge of the boy. The governess left the little boy for a short time in the care of his real mother, for so she was. She had noticed the telling birthmark on the little boy's leg. "You are my child," she said to the little boy, and she showed him a like mark on her own leg.

The little boy threw his arms about her neck, and cried: "Oh, I am so glad! I love you!" And when the governess came back, the mother showed her the like marks on her leg and on that of her son.

"Now I have a mother!" cried the little boy. "I love you! Come and live in my house and take care of me!"

Although the mother said that it would be impossible for her to stay, the foster-father of the child invited her to do so, saying that he was going away on a long trip. The mother therefore stayed in the beautiful house with her own little boy,

and loved every moment the opportunity of seeing her child gave
her. But when the man returned from his trip, she said that
now she would have to go back to her own home. The little boy
went down on his knees, begging his mother not to leave him.
To his foster father he said: "I pray, I pray, that you marry
my mother!"

And so the foster father married the real mother, and the
mother brought up her own child lovingly.

A girl lived in a very beautiful house with her mother. She had a lover. One day she realized that she was pregnant. She had promised the man to marry him, but he turned out to be very ambitious and decided to marry a very rich woman next door. Although she knew she was going to have this man's child, she did not want to tell him; and he left her to marry wealth.

She wouldn't tell her mother that she was pregnant either, because in that town they were very puritanical. There was a girl in the town who had had an illegitimate child, and she was in disgrace. She had to live alone without seeing anyone, to eat alone, and to live on the top floor. And so the girl we are talking about assumed that her mother would not tolerate her.

In anxiety she confided her story to a doctor. "My dear child," he said to her, "here is some money. Go to New York and have the child in a hospital; then give it away or sell it." As the pregnant girl didn't want to be a disgrace to her mother, as was the other girl in the town, she agreed to do as the doctor advised.

When the child was born, the doctor found a couple who adopted the child. The nurse in charge during the childbirth went along with the couple to look after the child. The child was a boy, and the nurse, before taking the child from its mother, showed the mother a birthmark on the child's leg. This mark was identical with a like mark on the mother's leg. "If you ever see this mark on a child's leg," said the nurse, "you will know that it is your child." The mother was broken-hearted at parting from her baby, but she was happy to know that the nurse was going along with the baby to a beautiful home.

As time passed the woman, an English woman, who had adopted the little boy, got tired of him, and she ran away from her husband and left the child all alone with the man.

Some years later, the mother who had had her child taken from her was riding in a compartment on a railway train. Opposite her sat a little boy of the same age as her son would have been. The nurse of the little boy said that the little boy's mother had run away from the father. This nurse was an intelligent woman, a governess who had taken charge of the boy very recently. The governess left the little boy for a short time in the charge of its real mother, for so she was. She had noticed the telling birthmark on the little boy's leg. She showed him the like mark on her own leg. "You are my child," she said to him.

The little boy threw his arms about her neck, and cried: "Oh, I am so glad! I love you!" And when the governess came back, the mother showed her the corresponding marks on her leg and on that of the little boy.

"Now, I have a mother!" cried the little boy. "I love you! Come and live in my house and take care of me!!"

Although the mother said that she couldn't stay, the foster father of the child invited her to do so, saying that he was going away on a long trip. The mother therefore stayed in the beautiful house with her own little boy, and loved it. But, when the man returned, she said that now she would have to go back to her own home. The little boy went down on his knees, begging his mother not to leave him. He said to his foster father: "I pray, I pray, that you marry my mother!"

In clu
The
Spectral
spiritual

Symbolism and mysticism have always been among my
principal interests. In my youth I read together with
my precious brother George Lawrence Sartor Resartus. This
book aroused our interest in symbolism, and we hunted for
everything we could find on the subject. It was not
easy to come on books dealing with symbolism at that time.
In the course of my life I have collected much material
in this field in literature and in painting. The Pre-
Raphaelites interested me. Books by Arthur Symons, and
William Butler Yeats particularly interested me in con-
nection with this matter. I remember once calling on
William Rossetti. I had heard that Dante Gabriel Rossetti
had made a drawing of Circe. William Rossetti pulled a
number of portfolios of his brother's drawings from under
a sofa, and we sat on the floor, looking for Circe, but
did not find her. (I made quite a collection of various
interpretations of Circe by various artists, and have a
collection of some thi ty different representations in Rye.)

An interesting incident connected with my interest
in symbolism occurred when Shane Leslie visited this country.
I had met him in Ireland and in England, and he called on
me one early afternoon in New York. I was not in when he
called, but I had been looking over my collection of books on
symbolism and mysticism and had left many of them spread out
on a large couch in my library. On returning at six-thirty,
I found Shane Leslie poring over all these books. He had been

## SYMBOLISM and MYSTICISM (2)

engrossed in them since about two o'clock, and he
was much embarrassed at having made himself so at
home in my library for four hours. Of course, for
me it was a delight, as it was a great pleasure
to have a man like Shane Leslie take such interest
in my books.

(Get list of books on Symbolism and Mysticism in
Julia's library. Also note persisting mystical
influences as expressed in "Man Rising from Dark-
ness into Light" and in the vision of "Daughter
of the Sun". See Speech to Woman as Painters of
the West, 1948, for description of latter vision.
See "The Temple of the Universal Spirit" by Julia
Ellsworth Ford.)

From childhood I have had a mystic strain in me.
Has had visions in dreams. Lightning flash VIZLITE
(letters formed like zigzag lightning) Sixteen years
old. The last chapter of *Imagina* came to me in a
dream.

(See passages on Mysticism marked by Julia
in her copy of *Prophecies of Melchi-Zedec*.)

THOUGHT

Only last year (1947) a most interesting pamphlet was sent to me, "Huna" by Max Freedom Long. This pamphlet and a book called _The Prophecies of Melchi-Zedec in the Seven Temples_ by Brown Landone have recently interested me. The statement by Brown Landone that the Sphinx was not built by the Egyptians aroused my curiosity, and I read his book with great enlightenment.

I have always been conscious of the power of thought, as have many other people, but not until last year did I realize when reading "Huna" and _Melchi-Zedec_ how this realization could be made an actuality and of vital force in my own thinking. That thinking is done through the use of "great vital force, and vital force works only through matter dense or etheric", was so clearly explained in the pamphlet "Huna" that I immediately sent out copies of the pamphlet to friends whom I knew to be interested in the working of the Universal Mind.— God.

I recall how one day in California a few years ago I visited The Temple of the Universal Spirit situated at La Crescenta, a short distance from Los Angeles. I was so impressed that the day should actually have come when Whitman's thoughts would be incorporated in such a concrete form, in a temple wherein the windows themselves had temples dedicated to all the great religions of the great nations of the world—I was so overcome, as I was saying, that my knees trembled and I had to sit down. Here was Religion free of creed or dogma revealed in Universal Spirit!

Went to China for first time with Witter
Bynner, writer and poet, a young friend of
Hobart's and my son Hobart.

The President of Dartmouth College was intelligent
enough to realize that a trip to the Orient was a
valuable educational feature, and allowed my son to
complete his college work later when he came back.

JULIA'S MEN FRIENDS

Platonic friendships

Free human relationships of dignity
and friendship.

Fearless of criticism

Always held friendships

Never demanding of attention or time.

## PRE-RAPHAELITES

Natural sympathy for the romantic developed
into intense interest in the Pre-Raphaelites
and Celtic Literature - Yeats and the Irish
Renaissance.

*   **Significance of interest in Pre-Raphaelites:**
    *   Spiritualization of the flesh
    *   rather than "fleshly"
    *   (Relation to Whitman & the body)

Visit to Chelsea Church

*   Meeting with William Rossetti
    *   (photographs of D.G.Rossetti & Ruskin)

Look up material in Watts suitable to memories

INTERESTS

Hay Fever : Vanderbilt Clinic
Cleared Milton Point of Ragweed. (Health Off.
in Rye--"Arrest me if you dare!")

Interests in Liberal Movements, contributing
through active individuals rather than
Institutions.

E.D.Morel, House of Commons

Tanaka Memorial.

Ralph Hodgson

Olive Dargan

Amy Lowell

Arthur Hacker

Waterhouse

Fought against Neutrality Act (giving oil to Japan)

Margaret Sanger : Mrs. Pinchot's house

Sent letters to > Atlantic City to get well

( Percy MacKaye - Paris Singer)

UNIVERSAL

A man is not a whole unless he has a universal
understanding of mankind and Divine science.

A man who has a universal spirit and is eager to understand the
world is more complete than the man who is surrounded by dogmas and con-
ventional contacts and tradition.

A physician likewise is very limited in his
who, though
a fine surgeon or doctor, yet refuses to enrich his science through such
extensions of experience as osteopathy, chiropractice, etc. Also faith
healing, etc. Sister Kenny, with her power for and proof of healing, was
frustrated by medical,
and other traditional organizations
and exiled from the country.

UNIVERSAL

A physician likewise is very limited in his
who, though
a fine surgeon or doctor, yet refuses to enrich his science through such
extensions of experience as osteopathy, chiropractic, etc. Also faith
healing, etc. Sister Kenny, with her power for and proof of healing, was
frustrated by medical,
and other traditional organizations
and exiled from the country.

Ellen Terry's butler told Julia
that Ellen Terry cried all day when
she married Watts. She was up all
night and she was up all day.

ELLEN TERRY

Played the nurse in Romeo and Juliet in later
years when nearly blind.

Hobart sent to see her (Had to be led on stage)
Hobart visits her dressing room. She fumbles
in her dressing table drawer for something to
send to Julia with her love.

Think of it! the narrow-minded, bigotted women
who black-balled her in a London Club!

A quotation from Whitman, the one that so
inspired me, applies particularly to Ellen Terry:

This impulse was stronger in Ellen Terry than
in anyone I know, save in Whitman himself. It is
interesting to note that Ellen Terry begins her
autobiography with a quotation from Whitman.

Ellen Terry
(page 3)

She had so deep sympathy for those who
suffered, that she gave lavishly of her momey.
I took her to have her voice recorded when she
recited the "To be or not to be" soliloquy.
The man who took the record gave her three hundred
dollars, and she immediately went up town and gave
it to a needy nephew.

Lecture tour in the United States. Ellen Terry always called my daughter Lauren "Karen". After her lecture tour she gave her the chair she always used on the platform while on tour.

She had such great power to create rapture in
her audience, or at least in those capable of responding
to her powers, that my husband and I saw her as often as
we could in her New York performances.

(Brooklyn incident - anecdote) Simeon had great per-
ception for her loveliness, but he disliked taking her
to the theatre because he was shy and never liked being
conspicuous. People looked at her, but of course also at
him as her escort.

ELLEN TERRY

Asked many times of all the characters with
whom I have come in contact which one stands out
predominantly as the most distinguished and charm-
ing in my opinion, without hesitation I say Ellem
Terry.

It was my good fortune to know her personally,
intimately. I visited her in her lovely old-fashioned,
country house in Kent. She and her daughter had ad-
joining houses in
and she has been my guest not only in Rye but in New
York City, and was the distinguished guest at my
Friday Night Club Dinner. I loved, admired and
found her the most beautiful woman I have ever seen.
There was such illumination in her face that only
the term radiant can describe her quality. In move-
ment she was graceful, spontaneous and rhythmic.
She had the deepest understanding and sympathy on
the stage or off, so that she was the character she
delivered. She had the power to throw herself into
any character she acted, adding the radiance of her
own personality thereto, whether the character was an
Imogen, or an Ophelia, a Lady Teazle or a Portia.
In the Merchant of Venice, the two parts she por-
trayed, the Portia of Belmont, and the Balthazar of
the Court, she illustrated her versatility; but in
her exquisite golden dress in the Casket Scene

Ellen Terry
(page 2)

as the Lady of Belmont, she transcended in beauty
anything I have seen on the stage. Her clothes were
the most truly artistic and charming creations - they
had a flowing grace. I had many of her gowns copied
at Liberty's, London - that great, old-fashioned,
artistic shop, where I bought a dress every year I
went to London (Materials so substantial and exquisite
that I have them to this day)

( Variety of characters portrayed vividly from
Katherine the Shrew to Juliet.)

Sargent's celebrated portrait of Ellen Terry as
Lady Macbeth is a stunning representation of her and
accentuates this point.

Added to all these charms was the tone of her
voice - delicate, deep, sonorous - expressing fully
the emotions she portrayed.

Her heart was always overflowing with the deepest
sympathy and love for humanity.

The tilt of her nose and the little slant to her
magical eyes, as well as the rhythm of her whole body
and the loveliness of her speech.

ISADORA DUNCAN

D'Anunzio

Duse

Isadora at luncheon with Julia. Later drove to Englewood to call on the Lamonts. Isadora wouldn't go in. Julia had tea with Florence Tom Lamont goes out and talks with Isadora and walks around garden. Isadora hated women.

> Four times Julia defied Tom Lamont to his face

Mrs. Arthur Scribner -- interested in David Mannes children who play on violin. Wanted to get the Mannes children and Isadora's dancing children together. Julia said: "Isadora doesn't like women. Isadora will insult you, Mrs. Scribner, and delight in doing it."

(Women use Isadora as an artist, and then don't want her in the house -- 'immoral woman')

Julia took Mrs. Scribner to see Isadora.

Write this up -- description of Isadora talking with young men.

Went with Isadora to see PAVLOVA.

What Isadora said about : Pavlova,
Ruth St. Denis
& herself.

Julia said that Isadora Duncan
never fazed her, but that Simeon would
run a mile if he saw her coming.

When Isadora Duncan's dancing
girls were in residence in Julia's
house at Rye, Simeon came home to
find himself confronted by Isadora.
When introduced to her at the foot of
the stairway to which he had got before
being observed, Isadora said: "Oh, Mr.
Ford, I never think of Julia as being
married. I always think of her as sur-
rounded by poets!" "How do you do!
Good-bye!" Simeon replied, and fled up
the stairs.

(Fourteen of Isadora's girls were
taken from Ellis Island to stay at Rye
at Julia's when driven from Europe by
the war, and having no place to go.
See Percy MacKaye's poem on the subject.)

There was no telling what Isadora
might do. Coming to luncheon with
Julia on one occasion, she said: "I
don't know why I came to your luncheon."

"Don't you?" said Julia. "I do.
Have some bread and butter!"

****

*****

Julia attended an occasion in a
studio where Isadora danced, with a
bowl of water and a lit candle, naked.
She neither spilt water, lost the flame.
She was so graceful and in perfect bal-
ance. "Percy Mackaye and Walter Dam-
rosch were shocked and went home to
mama."

Margaret tells of an occasion
when Isadora came into Julia's house
at 74th Street, dressed in a shawl,
one night, and danced about the draw-
ing room. Margaret played the grapho-
phone in the dining room. Isadora

angerèd Percy Mackaye by dancing
up to him with gestures of love.
She wanted to go to a party with
Witter Bynner, who went upstairs
pretending he had a headache so as
to escape her. Isadora came in to
get some money from Julia.