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Sunday Morning Among the Cross-Words ' ACROSS. 1. Blow up. 6. Networks. 11. Dish. 16. Reduce. 21. Harshness. 22. School: French. 23. Swift. 24. Danger 25. Pertaining to sheep. 26. Thoughtful. 28. Fragrant resin. 29. Wire measure. - 30. Narrow. 32. Feminine name. 33. Report. 35. Mesh. 36. Paradise. 38. Kind of Jacket. 40. Goddess of dis cord. 42. Perched. 43. Tear down. 44. Revoked, as a legacy. 47. Old French coins 49. American rail. 51. Censured. 54. Timber tree of the Pacific Islands. 56. Kind of duck. 68. Surgeon’s knife. 62. Cloth made from flax. 63. Areas. 65. Transmitted cus toms. 67. Insects. 68. Vegetables. 69. Turn to the right. 71. Angry. 72. Wood sorrel. 73. Portuguese coin. 74. Colt. 75. City of Italy. 77. Dessert. 78. Incite. 79. Accompanies. 81. White crystalline, alkaloid. 83. Abysses. 84. Roman date. 85. Chafl of grain. 86. Nickname. 87. Look closely. 88. French king. 90. Harangued. 92. Authoritative command. 95. Exclamation. ■ M. Mountain pan. 97. Tapestry. 98. Tender. 99. Numeral. 100 Groove. 101. Himalayan pheasant 103. Still. 104. A geometrical ratio. 105. Fowl. 106. Pertaining to hermits. 109. Mineral 111. European shad. 112. Abandon. 113. Give forth. 115. Stopper. 116. In a row. 117. Abound. 119. Mistakes. 121. Animal Jelly. 123. Rodent. 126. Hebrew teacher. 128. Sea birds. 130. Coin. 131. Dull brown. 135. Exist. 136. American finan cier. 138. Card. 140. Part of the face. 142. Wine cup. 143. Wanderer. 145. Carrier. 148. Prey upon: var. 150. Small fish. 151. Weird. / • 152. Stir up. 153. Genus of grasses. 154. Entrances. 155. Staggers. 156. Twine. 157. Phenyl and sali cylic acid. DOWN. 1. Kind of grass. 2. Black and blue. 3. Nimble. 4. Offspring. 5. Allowance for waste. 6. Tell. 7. Saving. 8. Measure of weight. 9. Other. 10. Net. 11. Foretell. 12. Housebdd god. 13. Armadillo. 14. Roman emperor. 15. Swellings. 16. Imitator. 17. Babylonian deity. 18. Field of activity. 19. Measures. 20. Choice element 27. Terrible. 31. Listen to. 34. Ears tone. 37. Titles. 39. Roman historian. 41..Beef fat. 43. Indian queen. 45. Lair. 46. Plunge. 48. Indian woman’s garment 50. Estimate. 51. Loud sound. 52. Threads. 53. Expects. 55. Consisting of an Indefinitely great number. 57. Pertaining to gulls. 59. Act of working together. 60. Place in a cup. 61. Former monarchy. 63. Oceans. 64. Observed. 66. Small fish. 66. Kettles. 70. Puzzling. 74. Worry. 75. Spiral canal of cochlea. 76>~&1b4 ...of' monks hood. 78. Sow. 80. Poems. 81. Segment of a circle. 82. Asiatic country: poet. 83. Sand hill: Eng. 85. To edge with trimming. 87. Peel. 88. Tended. 89. Gallery: ote. 90. East Indian boat. 91. Rages 92. West African monkey. 93. Concise. ~ 94. Stopped. 96. Cottagers. 98. Disposition to illness. 101. Mud. 102. Crippled. 104. Fathered. 105. Unseeing. 107. Measure. 108. Italian coin. 110. Unshaped Umber. 118. Substance. 1JT. Australian 134. Trite. 144. Addition to m 111. Adopted son of 120. Omit. Wattle tree. 136. Branches of house. Mahomet. 122. Love token. 139. Force the air learning. 146. Nothing. 114. Bridge supports. 123. Rough. through the nose. 137. Unusual. 147. Parson bird. 116. Philippine 124. Pleasant odor. 133. Untwist. 139. Enlarge. 149. Topas bumming sweetsop. 125. Merriment 133. Kind of acid. / 141. Ages. bird. Notes of Art and Artists — Continued From Twelfth Page L by Albert Spalding, violinist, but originally built for Charles L. Freer of Detroit, founder of our Freer Galley, and the “Home of the Ernest Watsons” in Monterey. AN EXHIBITION of block prints and pencil drawings by Ernest and Eva Watson, now an view at the Art League, is also being ex tended beyond the original closing date; it will remain for several weeks. All but three of the 80 items included are the work of Ernest Wat son, a master, both of the pencil and block print. Block print in black and white are shown as well as color prints, which are, however, the more numerous and more attractive to the average person. The making of color prints is far more laborious than that of black and white prints, for several blocks are necessary; theo retically, one block for each color used. But in practice, an artist frequenty uses two or more colors on one block, a method called "block painting,” which simultaneously complicates the process and extends its scope. One group of six prints in Mr. Watson’s exhibition reveals the process to the beholder in five proofs, shown with the finished print; “Homeward Bound.” That all of the painstaking care required has been richly rewarded In this artist’s case, is ap parent from such exquisite prints as “Harbor,” “Cornwall Bridge," "The Victor,” (a yachting race), “Rest on the Hill,” “Venetian Mornings” and others too numerous to mention. The gradations of color are so subtle they are im possible to describe. As evidenced by a large number of items, Mr. Watson loves spacious sky and cloud effects, and reproduces them consummately. His prints are fascinating in their color range; there are many examples of both monochromatic and analogous harmonies. They reveal a cultured, quiet taste as distin guished from the modernists’ preference for gorgeous, clashing contrasts inspired by peasant art, in many contemporary color prints. FMORLEY FLETCHER’S wood block prints ° In color, on view until January 28 In the division of graphic arts, Smithsonian Building, are excellent examples of the medium which his own researches have done so much to de velop in this country. "Mount Shasta” is one of the larger prints shown. Its colors are soft and harmonious; the rich blue sky, blue violet mountain (in several tones) and gray green of trees intensify the "cool” effect of the snow-covered peak. Still waters which mirror what is above and beside them, obviously ap peal to Mr. Fletcher, as four of the prints in corporate this feature: "Meadowsweet,” "Wlston River” (in his native county of Lancashire, England), “The Waterway” and "Floodgates.” This device, showing the landscape elements In reverse, results if a very attractive balance in the composition. There Is but one straight figure subject, “The Bookworm,” the others be ing landscapes, river scenes or other types in which figures are incidental. “Solinas River” is typical of California, where Mr. Fletcher now resides, showing as it does, a mere trickle of water through a wide dry river bed, with beautiful mountains in the distance. “Pil grimage Play,” which Mr. Fletcher made in collaboration with Allen Tierney, presents something of a contrast to the rest of the work, as the design approaches the modernist idiom, in its geometric shapes and balance. Mr. Fletcher and also Ernest Watson were represented in “Fifty Color Prints of the Year,” the first traveling exhibition of the kind to be circulated in this country, which was sent out by the American Federation of Arts last year, and proved so popular that for the present sea son, it has been taken to Canada under au spices of the National Gallery at Ottawa, while a second exhibition of the same nature is on a circuit of the United States. Both shows were assembled by the Print Makers Society of California. A IF&T7T V OAA mm In \J " - an exceptionally engaging exhibition on view throughout this month in the foyer of the United States National Museum, which was opened January 4 by Andre de Loboulaye, the French Ambassador. One hundred and fifty of these are from the collection of M. Therese Bonney oT Paris, which are supplemented by items from the National Museum’s section of photography, and by a small group of original Brady daguerreotypes lent by the L. C. Handy Studios of Washington. This exhibition commemorates the centenary of Nicephore Niepce, one of the inventors of photography, who died in 1833. (Mile. Bon ney’s portion of the exhibition opened the 1933 art season In Paris and came to Washington from New York City, where it was shown at the Knoedler Galleries.! Why so many exhi bitions and celebrations commemorate anniver saries of the deaths of valuable people is a mystery to us, but one is disinclined to quarrel with this queer custom when It supplies an excuse for so charming a show as the present one, of pictures made by the process of which the invention was completed by and named for Louls-Jacques Daguerre, partner and collabora tor of Niepce. This exhibition has numerous facets of in terest. It should appeal to the photographer as illustrating the inception of one of our newest art media, as well as (me of our most important industries; to the historian, as It is a review of "The Second Empire” In France, and also affords glimpses of figures In our own nineteenth century history; to the biographer, as It includes such a dar kling number of famous persons, and to the costume designer, as Indisputable evidence of what the people wore during a specific period. Mile. Bonney’s collection Includes about 30 rare portraits on silver backgrounds, 1841-1845, one of which Is reproduced here with: A little girl in a striped gown, which the owner calls “Mitts." It is one of the earliest dated portraits in existence: April, 1844. In addition, there are exceptional pas teled daguerreotypes, such as No. 80, “Goyescas," which Mile. Bonney considers outstanding. Although she has collected for only eight years, as a hobby, she has acquired such important items as daguerreotypes of Liszt, Chateaubriand, the Duke of Momy, Princess Beraadotte of Sweden, Edgar Allen Poe, Delacroix, Chopin (from a sketch by Georges Sand, which has been lost), Victor Hugo, and Mme. Doche, the first actress who played Camille. To the large number which cannot be identified Mile. Bonney has given fanciful names. The collection also includes some fine am brotypes, and one of the first ferotypes on oilcloth, as well as a series of daguerreotypes by the best known American makers of the period, Anson, Gurney, Root and Brady of Civil War fame. The Brady group from the Handy Studios includes portraits of Daniel Webster, the French poets, Lamartine, Audu bon and two of Brady himself, one with his wife and her sister. The public which took “Little Women” to its heart so enthusiastically should find some thing of the same appeal In these daguer reotypes. rOMETHING of the marner in which Afri can art has influenced works by con temporary artists may be seen in a number of wood sculptures now on view at the House of Seven Arts, included In an exhibition by West Virginia artists, which opened last Monday for a fortnight’s showing. Several of these artists seem to work with equal facility in a number of mediums. Joe Goethe shows several smaU heads in various woods, elongated and highly stylized, all reminiscent of African wood carvings, particularly his "Zombie.” He also shows two standing nude figures, a number of small torsos, one carved from soap; a water color landscape, and a group of crayon drawings, the latter being hung on the stairway. A self-portrait and two still-life paintings in oils as well as two plaster sculptures, a seated nude and a head, represent C. Alexander. Arvid L. Kundzin contributes “Harvey’s Mill” and "Archie's Barn,” landscapes in oils, as well as two wood sculptures in a style similar to those toy Mr. Goethe. A group of canvases In the cubist idiom toy James K. Davis includes a scene on shipboard, a landscape and an acrobat done t<- ji iJki. i . W ^ with a very simple palette. Most at them are in the library on the first floor. On the walls of the music and banqiM> rooms on the second floor are crayon draw* lngs by Leon tine Barnett and June Btamah chiefly landscapes. AN EXHIBITION of 16 oil paintings m. titled “Conservative vs. Modem Art" wad opened at Howard University's Art Gallery on January 7 to remain until February 4. THi exhibition, circulated by the American Pe<fc -^dd eration of Arts, aims to reveal certain casern tial distinctions between the two types of work, even though the startling contrasts between them apparent a few years ago have been considerably modified. Perhaps th* most noticeable difference in the present in* stances, and also the most ironical, is that at viewpoint. Our conservatives here are chiefly interested in appearance; our modernists, fet essential form. And In recognizing this fac^ we note that our conservatives are nearly afl exponents of some form of the impression lag technique, which when it first made its ap* pearance created a furor, and was com sidered the most superlative kind of “modi eroism”; whereas, those whom we must clam as modernists In the present group, in then endeavor to suggest the form of their subject^ have gone back to the aims of most of ttad old masters. F. S. B. The South Sea Bubble modern failures in business, great $4 they have been In many cases, fall abort of the failure which rocked England, the tm mous South Sea bubble. This scheme was launched by Harley, the Earl of Oxford, in an effort to pay off tht public debt. A company was formed whicb. was given exclusive right to the South Sea trade and also to certain Import duties. A company was launched to carry out the project and the stock sold to the public. The stock rose rapidly until It was quoted at a figure 10 times over par. When it reached the high point, the di rectors sold out and the bubble collapsed with a thud which threw all England Into distress. The directors were found not to have com mitted any illegal set, but, nevertheless, their property was confiscated and aided hi allevi ating part ot the distress. The government remitted part of the debt owed to the gov ernment, $38,000,000 of the $50,000,000 origi nally owed, but still the failure left the «"gM-H people in very distressing circumstances. < < f