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1 INSPIRATION MARKS ETCHINGS BY WORLD LEADER IN ART
GOTHIC STYLE AND GARGOYLES John Taylor Arms to Be Represented in Exhibition Opening on Monday at the Corcoran Gallery of Art—Later Show ing of Beauty in Ship Subjects by Gordon Grant* By Leila Mechlin. WO notable exhibitions open In the Corcoran Gallery of Art during the coming week. On Monday a comprehensive ex hibition of etchings by John Taylor Arms will be placed on view, and on Saturday afternoon will be held a preview of an exhibition of paintings > of "The Sea and Ships,” by Gordon Grant, to which many are looking for ward with pleasurable anticipation. John Taylor Arms is a Washington boy who has risen to pre-eminence in his profession and today stands among the foremost etchers, not only of America, but of our time. He has at tained this distinction through ex traordinary gifts of vision, perception. Intuition and understanding, together With patience, perseverance and end less industry. He is a brilliant drafts man, a most skillful technician, fully commanding his medium, using it well, and he has no mannerisms. But all this, while spelling perfection, might occasion work of little or no interest, save to technicians, were it not leav ened by the spiritual qualities of in spiration and deep, strong feeling. Not every plate that John Taylor Arms has, etched has attained his high ideal, but never has one been done without emotional urge. Trained as an architect, he has given himself to the interpretation of archi tectural themes, and chiefly of an earlier era than our own. In his early days as an etcher he "took stock of the medieval towns of France, Italy and Spain” and was especially at tracted by "rambling streets with quaint shop fronts, old doorways and cables." which he sketched with care. Then came the war and a long break. In 1923 he went back to the land he had most dearly loved to draw —Prance—and from there found his way into the southern countries, which likewise yielded him treasure in their overwhelming store of architectural beauty. It was then that his interest began to center in Gothic buildings, a •tyle which seems to him—and to ’ many others—to combine all that is most beautiful—grandeur of scale, fineness of proportion, wealth of de tail—in buildings erected by the hand of man. At first he confined himself, he says, to details. To this period belongs a aeries of plates depicting gargoyles— * the “Gargoyle Series,” he calls it—the making of which gave him "endless pleasure.” To him these grotesques are an inexhaustible source of interest and amusement—sheer delight. And he has made them delightful to many others, imbuing them with genuine characteristics, personifying them—in short, interpreting them, as their me dieval carvers undoubtedly meant them to be, with humor and admira tion. Later developed the idea of etching the cathedrals and churches of France, Which, with digressions "into the well loved hill towns of Italy and the i sterner but no less beautiful regions of Spain,” has occupied him com pletely for the last nine years. By 1929 the number of his plates had reached 146, and since then six fruitful years have come and gone. It Is an inexhaustible field—a task which can never be brought to completion— but each year as it passes brings addi tional revelations of beauty and in crease in fascination. “I have followed them,” he says, •from one end of Prance to the other; I have worked in the shadow of their magnificent portals and climbing ► apses, and always they have given me fresh inspiration and renewed reso lution to interpret, in so far as my lim ited power will permit, the imagery of their beauty.” Such enthusiam is bound to show in one’s work, and in Mr. Arms’ etchings It is a great factor. One may marvel ' at his technical skill—it is almost be yond belief—but it is the artist’s sense nf heautv and his casernes* to make it known that constitutes the profound appeal. Take, for example, one of his most famous etchings—“Lace in Stone"— the west facade of Rouen Cathedral with its rose window—which, published Bt $35 or $40 soon sold at $90 and is now listed at $150—and rare. As a technical achievement this is supreme, but it was not done as a stunt, and never for an instant does the observer have his attention distracted from the thing itself by the intrusion of bra vado, or even self-consciousness, on k the part of the etcher. In this mag nificent example of Gothic art Mr. Arms found the quality which he be lieves should be in every good etching —spiritual conception and technical power, perfectly balanced. “For all the unbelievable wealth of detail in the laeelike web that is flung across the front of this great cathedral," he Bays, “the feeling for mass and struc ture and silhouette is never lost." A somewhat similar plate Is “Gothic Glory,” the north portal, Sens, showing again a lacelike trac ery of glass and lead and stone. More (rave and monumental are the churches of Veselay and Puerta de Obispo Zamore, which he has etched * with full understanding of their dig nity and aloofness. With great strength and vigor he has etched for k Us the “Via Facchini” in Pisa, and k'Uh awsaadtvMr It* h(t ran - tiered a view of the "Chateau Stockal |>er.” > But when Mr. Arm* wishes to be ex plicit, no slightest detail escapes his miraculous sight or his magical skill— the magic of tireless training. This • may be observed in such plates as "Venetian Plligre,” “Palazzo Angelo” and, in lesser degree, in “Gerona,” "Prom the Ponte Vecchio” (not in cluded in the catalogue of the forth coming exhibition, but very well known), “Shadows of Venice,” the Rialto, and “Stone Tapestry," me dieval carving. The extraordinary thing about these etchings is that, with their multiplicity v of detail, they present a thoroughly unified impression—there is no con fusion, no drawing away of attention from the large and all-important theme. Also remarkable is the depth and transparency of Mr. Arms’ etched shadows—produbed, he says, by going over and over the plate with little strokes where deep shadow is found— but none other has been able so to SDDly this method. A most lovely plate is "Venetian Mirror”—the Grand Canal with its k bordering palaces, steeped in sunshine, asleep, tranquilly mirrored in the quiet water. This is etched almost en ^- tirely in line and without shadow, with great reserve and delicacy. Among his plates most esteemed by c. his professional colleagues are “The Gothic Spirit” and “Le Penseur de Notre Dame”—gargoyles rendered with not only humor and understanding, but a very special lightness of touch which is almost Inimitable. One could enumerate indefinitely. Some of the plates to be included in this coming exhibition are tiny, not exceeding 2 by 4 inches in I'mensions. None is very large. They a.invariably etched in the artist’s studio from pencil drawings made on the spot with in-, finite care and precision—which in themselves have almost the beauty of the finished work As some one who knows his work has said, his prints are not “slavish imitations of the actual physical aspects of existing structure, but rather spiritual recon structions embodying the faith, the aspirations and thoughts of a bygone age.” Dorothy Noyes Arms, the etcher’s wife, has told in her charming books, "Churches of Prance” and “Hill Towns and Cities of Northern Italy” (illus trated by her husband’s etchings), something of the difficulty of making these drawings, surrounded by inquisi tive onlookers or under adverse weather conditions—as well as some thing of the joy of discovery and tri umphant achievement. They motored from place to place as the spirit moved them, tarrying or moving on as cir cumstance induced, gathering ,as they went, rich material for future inter pretation, together with memories “like a loose bunch of flowers culled at random, each for some quality of color or fragrance, all its own.” These memories refer in many instances to the making of the very etchings which will be on view in the Corcoran Gal lery of Art next week and when once communicated give them added sig nificance. Like her husband's etchings, Mrs. Arms’ word pictures are colorful and full of atmosphere—she is an ob servant, well seasoned traveler—a graceful and very gifted writer. In 1930 John Taylor Arms was i ma/ta an Academy of Design and three years later an academician. In 1933 he was made by France a chevalier of the Legion of Honor and in 1934 the Royal Society of Painter-Etchers and Engravers of England elected him to associate membership. He is repre sented not only in the leading print collections in this country, but also in the Albert and Victorian Museum in London, the Bibliotheque Nationale in Paris and other outstanding foreign collections. He is president of the So ciety of American Etchers and gives much time to the advancement of the graphic arts and their appreciation. Gordon Grant’s Ship Pictures. TTHE exhiibtion of ship pictures by Gordon Grant, which will open in the Corcoran Gallery of Art next Sat urday, under the auspices of the Washington Society of the Fine Arts, increases in Interest and importance as the date of the showing approaches. In addition to the 30 paintings pre viously promised, one of which, by the way, is the “portrait’’ of the U. S. frigate "Constitution”—“Old Iron sides”—lent by the president, two ad ditional canvases will be lent by local owners. These will be “The China Sea,” lent by Thomas W. McKnew, and “Sovereign of the Seas,” owned and lent by Melville Grosvenor. This exhibition will include ships of many kinds not as at anchor in safe harbors, but as sailing the high seas. One canvas will set forth the defeat of the Java, a British ship, by the Con stitution, in 1812, an event of great historical interest. Others will recall the days of the barques, the clipper ships and the windjammers. There will be pictures of whalers and of other fishing craft—in fact the whole colorful history of the days of sailing ships will be vividly recalled. A sailing ship is in herself a work of art, beautiful in line, fine in propor tion, graceful and rhythmical in mo tion. To see such under full sail is a sight now growing very rare, tout at all times memorable. Gordon Grant is not only a painter and etcher of distinction, but an authority on the history and development of sailing i y raft of which he has made a pro ound study. None is a greater lover f the sea and ships than he. Mr. Jrant is coming from New York to ttend the pre-view. iarold Weston’s Virile Paintings. LTERY strong, virile and out of the ordinary are the paintings by Iarold Weston, now on view at Studio louse. Of course there are many ways f painting, but there are compara ively few painters who do not follow onvention, if not tradition. Mr. Wes on is one of these. His work is unlike hat of any one else. He has quite mconsciously, one may believe, de eloped a mode quite his own, and laturally held to it. In the midst of nuch forced originality, this seems lerfectly genuine, in fact almost naive, ’resumably he paints the way he does lecause he sees and feels things in his way. None could doubt his sin erity. He shows a great variety of subjects -landscapes, figures, portraits, the in erior of a factory, a shipyard, still ife. interiors. One of the portraits s of himself as reflected in the little tudio mirror on his easel. He is ighting Jiis pipe and the match flares >rightly. Ano‘her portrait is of a :arpenter who does odd Jobs for him n his Adirondack village home. He s pictured in a plaid jacket seated in i room on the walls of which hangs in Oriental rug. A third and very vivid portrait study is of a man lying iown: only the head and hands are jainwa, ana mat portrait or the body :lad In a “Lumber Jacket.” These are not smooth, sauve exam ples of portraiture, but rough and rugged as hickory stumps, or rock jeaten by the elements. They have in them a measure of the elemental— they possess no subtlety save that of itark realism, which is sometimes ised as a screen. The landscapes are somewhat of the same order, though :ven more simple and conventional-* zed. Evidently, to Mr. Weston, pat tern is of chief concern. This leaning tie traces back to the teaching of Denman Ross at Harvard, for Ross was a great Orientalist and deeply nterested in design. In two of Mr. Weston's oil paintings —that of a shipyard and the long panel depicting the interior of an automobile factory—there is, strangely ;nough, a touch of Chinese influence, which may. he explains, have come through a three-year sojourn in the Orient. Possibly it is a matter of color—more likely, however, of de sign. These two paintings are as smooth in surface finish and as care fully wrought in detail as his other works are loose and broad in treat ment. The shipyard is quite lovely In color, whereas the factory is of greatest Interest because of its pat terning of unconventional shapes. In it too. however, there is a nice repeat if yellow and a pleasing harmony of yellow, blue and brown in modulated tones. The still life studies are, in turn, varied. One is of a pair of snow shoes, stood upright against a wall very realistic—another is of a crock pf fems on a table seen below the level oi me eye ana in snape perspec tive, while a third is of a handful of partridge feathers on a brown-gray cloth—a study in these tones—very beautifully rendered. Finally there is a picture of a little boy sitting on a high stool washing his hands at a porcelain wash basin, his back to the observer—the charm of which is in the lighting effect—the transcription of simple values—and in addition two interiors without fig ures—one of a hallway, unadorned, painted wall, board floor; the other of a much-used old-fashioned stove seen in the comer of an inner room through two open doors. The allure to the painter in these subjects may not be obvious to the lay observer, but it is the artist's business to discover beauty in unlikely places and make it manifest. Mr. Weston disclaims pri mary interest in the ability to find expression—in other words, painting for painting's sake—and insists, quite rightly, that back of the urge must be the expectation that what he is doing is not only worth while at the moment, but will be of continuing in terest to others. After all, if this were not so, painting as an art would inevitably come to an end. Mr. Weston in this exhibition shows not only oil paintings, but water col ors, paintings in gouache. The latter are as different in style from the for mer as could possibly be. They are for the most part landscapes, rather, lyrical in quality, none too close to nature, but of the substance thereof. In this medium, too, he has done a i shipyard and some studies of machine i shops lor murals. These hang in the back gallery and hall, whereas the , oils occupy the main gallery. Mr. , Weston has, it will be recalled, been ! commissioned to prepare studies for , murals to be placed In the main lobby of the Federal warehouse in this city. | His exhibition in Studio House will , continue to March 14. , Historic Williamsburg Pictured. • TOM BROWN'S pictures of Wil A llamsburg, now on view at the i' Arts Club, are to an extent the fig- ; ment of dreams—those of the early i settlers and of recent restorers. Wil- i liamsburg, the dream city of the New World that was lost and dead, has i been brought back to life and greatly , reawakened—its life goes on in an ; atmosphere made up in part of mem- i cries, in part of reality. This is un- : doubtedly what Mr. Brown wished to ■ manifest in his paintings and why ( he has avoided too positive expression. What is more, Williamsburg is a gar- . den city, once set in the wilderness, : now overflowing into the country, so : that each change of season creates a ' change of scene. For this reason the i artist prefaces his exhibition with a ■ landscape, ‘‘Prelude to Spring,” and ; ncludes In the catalogue a “Winter Scene” for contrast. An interesting characteristic of the j irork of the early builders in Virginia ind farther South, as well as North, vas that the same care in building, he same fine brick work, the same veil-considered design, were employed n the erection of kitchens and bams is in family dwellings. This is evl lenced in Mr. Brown’s paintings of he “Paradise House Bam” and 'Kitchen, St. George Tucker House.” rhe mansions themselves, such as •Bassett Hall” and the "Coke—Gar rett House,” were not pretentious in hemselves, but they were in most ex :ellent taste and very livable. Interest is added to this exhibition >y the Inclusion of several paintings nade in New England, such as "Old ..yme Church Tower,” which seem to It perfectly into the picture of Colo lial America, and give Indication of videspread good taste in architectural lesign on the part of the builders. Mr. Brown, a member of the So :iety of Washington Artists, the Wash ngton Water Color Club and the landscape Painters, is now living in Williamsburg, and reports interesting levelopmant in the restoration work vhich is steadily being carried forward. Jot only has the Virginia Legislature met in the Governor’s palace, but therein exhibitions have been held under the patronage of Mrs. Rocke feller and others. Old Santa Fe Comes to Washington. 'T'OO much cannot be said in praise and appreciation of the wood block prints by Gustave Baumann, which, about 40 in number, give at present colorful charm to the recep tion room and hall at the Arts Club. The prints made, no one but the artist knows how, have the quality of paint ings without discounting their quality as prints. They have depth and dis tance; they have atmosphere and light; they are essentially of the place and the time they represent. They are Santa Pe and the Great South west. There is something very remarkable in Mr. Baumann's color—his greens, his yellows, his purples. They are strong and vivid, but never blatant. What Is more, his accents are always placed precisely aright. Note, for ex ample, in "Santo Domingo" the “punch” given by the black hair of the Indians. Over the mnntel in the reception room there is a most inter esting group—a seascape in the cen ter, blue, jewel-colored water, swing ing upward in easy, lazy movement to reach the sky, flanked by two pic tures of blossoming trees—one white, the other pink—silhouetted against silver skies; while above is a decorative study—which any modernistic would equally admire—of a tulip flower with its clean-cut foliage—rhythmical, very simple, beautiful. Mr. Baumann’s treatment of trees to significant, either singly or en mass— for instance, "Redwoods,” "Singing Wnrvlt ” “Mnnntoin fl/vlH *• 'TWtnn_ woods.” In “Punch Hunting Chip munks” there is a touch of humor, and in “White Desert” an element of the dramatic. This Is a very en gaging collection and one which should arouse much interest. The Arts Club generously opens its ex hibitions to the public from 10 to 5 o clock on week days and welcomes interested visitors. New Portrait of Wilson. TyjISS CATHERINE C. CRITCHER of this city has just completed a portrait of the late President Wilson which will be placed, with appropri ate ceremony, in the Wilson High School on March 10. It is the gift to this school of the Washington Chapter of the alumni of Mr. Wil son’s alma mater, the University of Virginia. This portrait, which is a little more than head and shoulders, but does not include the hands, shows the ex-President as a comparatively young man., hair slightly graying, but strong of frame and not careworn. He has on a black suit and dark-col ored tie and is seen against a back ground of well-filled bookshelves. It is a composite portrait made from several photographs, a charterization, and as such most admirable. Because it is to go on a high wall in a large hall it is purposely a little over life size. The face is turned slightly to the left, but the eyes look directly to ward the observer and are very seeing and kindly. The chin is long, the jaw firm, but the expression is gra cious. It is the face of a scholar, an idealist and at the same time an ag gressive leader. It is typically South ern, which is unusual in portraits of “The Studio Mirror" a self-portrait by Harold. Weston, on exhibit at the Studio House. Chief Justice in Bas Relief Echo of College Gratitude -- <«-—.— Portrait Is Work of Raul, and Presented by Delta Upsilon Chapter. A PORTRAIT in bas-relief of Chief Justice Charles Evans Hughes, designed and modeled by Harry Lewis Raul, has been placed on exhibition in the Corcoran Gallery of Art this week as a loan from the Chief Justice. It is a large panel in plaster, with a bronze patina, and shows the Chief Justice life size, in profile, wearing his robe of office. The sculptor began it in this city about a year ago, but fin ished it in his Summer studio in the Pocono Mountains. The Chief Justice gave him sittings here in his home and later drove over the mountains from Skytop, from time to time, for sittings in the artist’s studio. The original, of which this is a rep lica, has been given permanent place ment in the Delta Upsilon fraternity house at Lafayette College, Easton, Pa., where it was lately ceremoniously unveiled. Both it and the replica pr*> sen ted Chief Justice and Mrs. Hughes were given by the Lafayette Chapter of this national fraternity. There is an interesting story in con nection with this presentation. When Charles Evans Hughes was a student at Brown University, he, with five other members of the Delta Upsilon Fraternity, went to Lafayette College and Instituted a chapter there. That was in 1885. Twenty years passed and Mr. Hughes had become Governor of New York, but the Lafayette Chapter of the Delta Upsilon Fraternity was still meeting in the little upper room >ver a store in which it had come into /*» being. One night the Governor, with his uniformed aide, appeared at a meeting, rebuked the members for al lowing their fraternity to lag behind others, incited their ambition and laid 4 ♦ a check for $1,000 on the table as his gift toward a fraternity house. Ths five other members of the original or ganizing group from Brown made like contributions and the house was built. 1 Lafayette College Memory of Benefaction Brings Exhibit Here. One of the members of the Delta Upsilon present on that memorable oc casion was a young freshman named Harry Lewis Raul destined to become widely known as a sculptor. Most fit tingly. he was chosen by the alumni to model the portrait of the Chief Justice to memorialize his generosity and at tainments. Harry Lewis Raul was born in Eas ton, Pa., but studied in New York and Philadelphia under Elwell and under Grafly. Among his most distinguished works are “Old Glory," soldiers’ monu ment, West Chester, Pa.; Julia Dyck man Andrus Memorial, Yonkers, N. Y.; “War Mothers' Memorial," Philadel phia; "Christ the King,” Loyola House Retreat, Morristown, N. J.; Bar ton Memorial Tablet, Berea, Ky. He has also modeled strong and im pressive heads of Lincoln, of Beethoven and of Dante, as well as numerous imaginative or fanciful compositions such as “Light on the Sea,” “Tears" and others. Mr. Raul has been an active mem ber of the American Artists’ Profes sional League and has done much to promote, through local organizations, the appreciation of art He is a stanch believer In America and American training for American artists. The portrait of the Chief Justice will remain in view, in the room set aside for the display of American sculpture at the Corcoran Gallery of Art for several weeks, after which it will go to the National Gallery of Art for an in definite period. a Portrait in bas-relief of Chief Justice Charles Evans Hughes, by Harry Lewis Raul, on exhibition at the Corcoran Gallery of Art. BULLETIN OF EXHIBITIONS. Corcoran Gallery of Art—Per manent collections. Special ex hibition etchings by John Taylor Arms, opening March 2. The Washington Water Color Club’s annual exhibition, closing March 1. National Gallery of Art, United States National Museum—Per manent collections and special exhibition of Spanish fans. Smithsonian Building—Exhibi tion etchings by Mildred Bryant Brooks of Pasadena, opening March 2. Freer Gallery of Art—Perma nent collections, paintings, etch ings and drawing by Whistler. Oriental paintings, bronzes, sculpture, potteries, etc. Phillips Memorial Gallery Permanent collection paintings by old masters and modern artists. Studio House—Exhibition of paintings in oil and gouache by Harold Weston. Textile Museum of the District of Columbia—Rare and beautiful textiles, rugs and embroideries, j chiefly of the East. Arts Club of Washington— Paintings of Williamsburg, Va., by Tom Brown and color block prints of Santa Pe and the Southwest by Gustave Baumann. Library of Congress—Prints and drawings from permanent collection. Exhibition of illustra tions by Alice Barber Stephens. Junior League Gallery—Exhibi tion of photographs by leading pictorial photographers. Howard University Art Gallery —Exhibition of lithographs and etchings by Kathe Kollwitz. Public Library, main building— Photographs by George W. Harris. Northeast Branch— Twenty women painters. South east Branch—Landscape Club. Georgetown Branch—Works by Washington artists. District of Columbia League of American Pen Women—Paintings by Edna Webb Miles. International House. Y. W. C* A.—Exhibition of paintings by members of the Society of Wash ington Artists. Dumbarton House—Permanent exhibition of furniture and fur nishings of the early republic. *'Coke-Garrett House, Williamsburg, Va.u A painting by Tom Brown, on exhibition at the Arts Club. “Venetian Filigreean etching by John Taylor Arms, to be included in the exhibition at the Corcoran Gallery of Art, open ing Monday, March 2. i Wilson, and yet presumably correct. There is, of course, a prejudice against post-mortem portraits which to an extent is unreasonable—the great are not memoralized while living—and almost every sculptured memorial statue or head has been done, not even immediately, but long after death. Miss Critcher has given her portrait of Mr. Wilson profound study and has evolved a type as well as a likeness. The Photo-Pictorialists at the Junior League. A LTHOUGH there are some inter- | esting prints in the exhibition of photographs which opened the first j of this week in the Junior League's new gallery, the show as a whole is not especially notable. Very little originality or individuality is shewn and only a few of the prints have decorative quality which is the dis tinguishing mark of the new photog raphy of today. In two or three in stances efTort has apparently been made in this direction, but with futile result—log ends, for instance, do not make a picture or even a pattern unless actually designed. There are some good portraits, which if not ef fective at a distance, are intimate and personal—such as "Toscanini," by Arnold Genthe; “The Surgeon," by Dr. Walter Boyd, and Van Vechten's por trait of "Anna Roosevelt Boettiger.” There is a very lovely nude by Edward L. Adams and an interesting figure study. "The Seamstress." by Elwood Street, while in composition, subject pictures outstanding arc "Oh. Come, Let Us Adore Him,” choir boys on the steps or the cathedral altar, siinouettcd against their own shadows, by Jackie Martin, and • After the Storm." line men strung up dramatically against the sky, the work of Frank A. Werner. But, after all, one has to return to the conclusion that artistic as pho tography may be and is, the camera as a medium has many limitations, that it can never actually compete with painting or the graphic arts. Its true function is undoubtedly as a witness to reality, something intimate and personal, but never to be hung on a wall. Exhibitions Change. 'T'HE first of next week the exhibl 1 tion of etchings by Levon West in the Smithsonian Building closes and will be replaced by one of etchings by Mildred Bryant Brooks of Pasa dena, Calif. At the Public Library the water colors by Hugh Collins will come down and photographs by George W. Harris of this city will go up. In the Art Gallery of Howard University an exhibition of lithographs and etchings by Kathe Kollwitz—a brilliant artist— is scheduled to open on March 2, to continue to the 14th. In the National Gallery of Art section of the United States National Museum a large and very interesting collection of Spanish fans, assembled by the late Duchess D'Arcos, has been placed on view. Beginning tomorrow, March 1, a col lection of original illustrations by the late Alice Barber Stephens will be exhibited. The Washington Water Color Club's annual exhibition may bs seen in the Corcoran Gallery of Art tomorrow afternoon, but then comes to a close. Career Women in Congress iVAHlunuea rroin rust i most popular dinner guests in Wash ington, with nary a party restriction. Mrs. Kahn was educated in the San Francisco public schools, later graduating from the University of California. Whereupon she taught history and English in the high schools of Sftn Francisco. In 1899 she married Mr. Julius Kahn, then a member of Congress representing the fourth congressional district. Mr. Kahn was in Congress for about 25 years. So Mrs. Kahn actually had 25 years of political background for her highly important legislative job. A LWAYS she has been a close stu **■ dent of national affairs and a keen observer of the political pano rama. On February 17, 1925, the Governor of California called a spe cial election at which Mrs. Kahn was elected to succeed her husband. She has been re-elected to each suc ceeding Congress. During her 10 years’ service in the House. Mrs. Kahn has served on nu merous important committees, includ ing: Education, Census. Coinage, Weights and Measures. During her second term she was made a member of the Committee on Military Affairs, one of the most powerful of all. At the start of the present Congress she was placed on the Appropriations Committee. Like Mrs. O’Day, she has two handsome sons. Both live in California. She stays at the May flower Hotel. Edith Nourse Rogers of Massachu setts is the only other Republican lady of the House. With the exception of Mrs. O’Day she is on more important committees than any of her fair col leagues. They are: Civil Service. World War Veterans’ Legislation and Foreign Affairs. She has been on the Veterans’ Committee since 1925 and is now the ranking member, and the second ranking member of the Civil Service Committee. Rank is deter mined by the length of service. Mrs. Rogers represents the impor tant fifth congressional district, which takes In her home residence town of Lowell and has a population of over j 300,000. She is a wealthy widow of a fine family. She was born in Saco, Me., and went to some very swanky schools, including Rogers Hall, in Lowell, and Mme. Julien’s, in Paris. Capable, energetic and a born fight er, Mrs. Rogers has an enviable record in public affairs. She has been in Congress about as long as Mrs. Kahn —more than 10 years. She is tall, gra cious in manner, with the quiet dig nity and assurance of the typical blue blood New Englander. Mrs. Rogers was elected to the House to fill a vacancy caused by the death of her husband, the late John Jacob Rogers. But she has been re elected to every succeeding Congress for one reason only—sheer ability. Al ways a rock-ribbed Republican, the New Dealers haven’t been able to de feat her or even to diminish her power in the slightest degree. As proof of this, she was re-elected to the Seventy-fourth Congress, receiving 75,754 votes as against 46,135 for her Democratic opponent. Some six or seven years ago Mrs. Rogers earned the distinction of being the first Congresswoman to instigate and pass a major bill. This was an important appropriation for veterans’ hospitals. . Although a "regular” Republican, Mrs. Rogers does not hesitate to follow her conscience rather than her party, when a matter of national Importance is under consideration. Recently, for instance, when Secretary of Com merce Roper, one of President Roose velt’s right-hand men, requested her to put through a certain bill, she in troduced it immediately. Its subject was the national unification of traffic legislation and it calls for an ex penditure of $50,000 to Investigate the present situation. y inaianciaa scrapper if eviaencea by the fact that not long ago her Foreign Affairs Committee reported favorably on the pending neutrality bill. But she herself did not, declaring emphatically that she did not approve of its major clause, placing the power to declare war in the hands of the President; whereas under our Con stitution this is the proper job of Con gress and not the Nation's Chief Ex ecutive. Representative Virginia E. Jenckes of Terra Haute, Ind., looks enough like former President Woodrow Wilson to be his sister. Yes. even to the pince nez, prim and aloof manner and alert eyes that gkze at you inquiringly. She's the college professor type to the core and employs a publicity man. She also maintains two girl stenographers and they seem to be busy all the time. Mrs. Jenckes takes a wholehearted interest in patriotic activities and farm relief and has been active in woman’s public work and politics since about 1912. She represents a very important district, the sixth, in In diana, taking in the town of Terra Haute and 10 counties with a total population around 300,000. The Indiana Congresswoman has one daughter. Miss Virginia Ray Jenckes, and lives in a modest apart ment in Washington. She was elected to the Seventy-third Congress, defeat ing two men, one a Democrat and the other a Republican, in the general election. She was re-elected to the present Congress by a comfortable majority. --• Hard Winter Ends _(Continued From Second Page.) year after year, with those for New Haven. The Washington Winter curve shows almost the same fluctuations for a hundred years. There is only one marked break—the war years of 1917 and 1918—when the District had some of the most severe Winter weather in its history, while the temperatures in New England were close to normal. Such, by the way, has been the case this year. It is one of those puzzling variations which meteorologists can not explain. QTHER American records are not so old, nor so reliable, as those for Washington and New Haven. Mr. Kincer has plotted scores of them. Almost Invariably they show the same general tendencies—with due allow ance being made for lofcal variations. Mr. Kincer's curves demonstrate only that weather does move in spasmodic cycles. What goes up must come down, but it may go up fast and come down slowly, or vice versa. Sum mer always wUl follow Winter and a warm period will always follow a cool period after a time lapse roughly analogous to the particular kind of cycle one is concerned about. It may be 50 years, 10 years, 1,000,000 years. The curves shed no light on why we have cold Winters. They don’t seem to fit into any consistent pattern. -♦. Anxious to have Spring arrive ahead of time, a gardener at New Plymouth. New Zealand, utilized electric current to warm his soil and thus hasten the growth of his plants. The electricity board then decided that his equipment is similar to the heater of a chicken brooder, and the gardener must pay poulterers’ rates.