SEASON OF FLOWERING ARTS Exhibitions Bring Delight to Admirers of Creative Work in Capital. Paintings and Sculpture Owned Here—Whimsical Subjects at Phillips Gallery. , . ‘‘Luxembourg Gardens ” by William Glackens. jr., purchased by the Corcoran Gallery of Art for their permanent collection, from the Fifteenth Biennial Exhibition of Contemporary American Paintings. _ -Star Staff Photo. By Leila Mechlin. HE multiplicity ‘of exhibitions opening at this time would suggest a timely flowering of art in keeping with the season of blossoming trees and shrubs. But the fact is that Nature herself is a formidable rival in this field, when in fresh Spring dress, and lays the artists under special obligation as to verity. With eyes filled with the brightness of Spring sunshine and the beauty of Spring leaf and flower, works of art on exhibition must be very good and more than clever to en gage and hold attention and admira tion. Measured by even this exacting standard, however, those who have made the rounds of local exhibitions this week have found in them much to admire and enjoy. The exhibition of paintings and sculpture owned in Washington, which opened in the Phillips Memorial Gal lery on the 15th, and will continue until the 30th, 1s one in which every lover of art must find untold delight. It contains not only the works of great masters, but choice examples. Furthermore, the collection as a whole covers a long period and comprises works of extremely varied character. If nothing else, it should teach the catholicity of art and the absurdity of insistence upon any fixed way of expression. There are too evidently many ways, if but one end. that of truth and sincerity. And in these works beauty is ever present, intrinsic not merely in subject, but rather in presentation. In almost even' in stance these pictures are beautifully painted, though very differently. What could be more exquisite than the “Rest During Flight Into Egypt” by Gerard David, from the Mellon collection, a smaE panel painted over 400 years ago, but 'with colors undimmed and workmanship un rivaled. The Madonna with the Christ Child in her lap is in blue dress and cloak of heavenly hue, with Just a touch of red at neck and hem of garment. There is a lovely land scape setting and the Baby's interest 1* engaged by a bunch of white grapes held in His little hand. But like wise how enchanting is the little painting, oil on wood, by Fragonard, of “The Visitation of the Virgin,” lent by the Hon. Irwin Laughlin, much more freely rendered, but with equally evident reverence and joy. This rep resents the meeting, recorded in the scriptures, between Mary and Eliza beth; and a band of Ettle cherubs carrying the latter’s chant of praise to Heaven. It is all done with a light touch but with insistent simplicity and charm. nrURNING to the portraits—what a • revelation one finds here in such outstanding ’ examples as, to name only a few', the “Portrait of Woman Holding Book,” by the Maitre de Flemalle—fifteenth century Flemish artist—from the Dumbarton Oaks (Bliss) collection, rendered with such magnificent exactitude, breadth and simplicity; the two little Ambrose Bensons of a man of the early six teenth century and his wife—lent by Mr. Adolph Caspar Miller—rendered with much the same deliberate cor rectness, but also vital. In striking contrast are the “Head of Christ," by an unknown artist of the Venetian school, owned by Mrs. Marshall Lang horne, and the portrait of the Mar quise D'Andelot by Rembrandt, lent by Mr. and Mrs. F. L. Belin, both of which glow wdth light and are rich and toneful to a remarkable degree. me one nas more man a suggestion or Titian, while the other witnesses to the power of the greatest artistic genius, perhaps, of all time. In the Rembrandt portrait the hands fire rendered, with especial significance, as characterful, if not more so than the face. Then, follow ing the changes that time brought, are a boldly painted portrait of a man In uniform by Vincente Lopez, lent by Mrs. Keith Merrill, and portraits of the eighteenth century British school by Reynolds and by Raeburn— one owned by Ambassador Houghton and the other by Mrs. Merrill-reach fully characteristic, but painted, per haps, a little more than the earlier works to gratify vanity—not that of the Individual, but the period. And with these great works one finds a head of a little child dressed in blue, painted by none other than G. P. A. Healy, an American artist, whose active years were those of the mid-nineteenth century, never great, but, as in this instance, at times very good. The lender of this interesting canvas is Mrs. Frank Bennett. One eannot but conjecture how astounded the painter himself would have been to find himself in such distinguished company. Another work by an early American, calculated to arouse pride, is that of "Fruit in a Pressed Glass Bowl,” by Ruben Peale, lent by Mrs. McCook Knox, a realistic presentation, but very well rendered and extremely colorful—a thoroughly painterlike per formance, direct but sophistocated, with an elegance all its own. With extreme hospitality and mod esty, paintings belonging to the Phil lips Memorial Gallery have not been Included in this special showing, and ^both the large gallery on the secon# / ... 4* floor and the smaller one at the foot of the short flight of stairs lead ing thereto are given oyer exclusively to the works loaned. All of the paint ings to which reference has just been made are td be seen in the larger gallery, while in the smaller are found works by painters of the latter-day French school—or produced under its influence. Here one finds a famous “Portrait of a Lady,” seen against a background of flowers, by Mary Cas satt, American by birth but long resident in Parts and an exponent of the impressionist school; “Portrait of | a Young Girl,” by Berthe Morisot, the ; one woman associated on even footing with the great impressionists, and “Portrait of a Young Woman,” pastel, by Renoir, all three lent by Mrs. Mar shall Field; as well as two Degas— one a famous canvas, “Repetition de Chant,” the other a “Portrait of Julie Bellelli”—and a very lovely ex ample of the work of Alfred Steven— Belgian—of “Mother and Child,” all three of which are drawn from the Dumbarton Oaks collection. To segre gate this group was an excellent idea, as it is essentially modem and peculiarly individualistic. On the opposite side of the hall a single little gallery is given over at present to the eight or more small paintings by Daumier of the Phillips collection, which, interesting enough, seem to furnish a link between the old and the new. Any one of these could hang, as does the Daumier, “Street Musicians,” from the Dum barton Oaks collection, in' the main gallery with Rembrandt and Greco, Cranach and Memling, or in the! smaller gallery with Degas and Seurat. Very much alive, they have in every instance the “intrinsic beauty of paint on canvas.” Whimsical Drawings of Insets, Birds, Beasts, by Pierre Bonnard. QFFSETT1NG the grave dignity and seriousness of the Loan Exhibi tion is a collection of drawings by Pierre Bonnard now on view in the print rooms in the basement of the Phillips Memorial Gallery. These, mostly in pen and ink, were made as illustrations for "Histories Nat .ralles,” by Jules Renard, and are of bird, beasts, insects and fishes. There is a lightness and gayety about them that is refreshing They are essentially for children, but make appeal no less to those of mature years. To an ex tent the artist uses a juvenile idiom not with pretence but naturalism, adapting himself and his work to the child mind. These are such drawings as a child might well demand of an artist—“Draw me a cow—draw me a goat—draw me a deer”—ad infinitum. Not only has M. Bonnard drawn all these, but pigs, sheep, ducks, swallows, owls, fish, bees and various insects. A delightful drawing 1s of ants in groups, carrying on their endless in dustry, Bonnard was bom In 1867 and is essentially of the new school, linking in his work the Impressionists with the Expressionists. Writing of his paintings, of which the Phillips Me morial Gallery owns several excellent examples, Mr. Phillips has said that he is "a whimsical artist of unmistak able genius,” and refers to his ‘‘capri cious joy at seeing life for himself” as well as to his childlike mind which "frolics in the eternal Springtime of a piquant fancy,” thus creating for us "glimpses of fairyland.” Analogy has been traced between his paintings and the musical compositions of De bussy, but this is a matter of color rather than line. In a world racked by war and tom by many terrors, the mere fact that one artist at least can find delight in making merry drawings for children, such as these by Bonnard now on view, should be matter for re assurance and rejoicing. “Twenty Women Painters” Make Excellent Showing. T™ “Twenty Women Painters”— an organization neither formal nor fixed—has opened, this week, an exhibition of the works of members and invited (feminine) guests in the little gallery at Jelleff's. It is a color ful and excellent show. There are works in oils and in water color, and they hang together admirably. In the matter of subjects, there is nice va riety-figures, landscapes, street scenes, interiors and still life, Gladys Nelson Smith shows a clever and semi-humorous composition, entitled “The Snob," which evidences a pic torial sense and also a command of her medium. Gertrude G. Brown is likewise seen to have essayed a figure composition, “The Penny Jig,” a lively scene, young Negroes dancing, rather sketchily indicated, but out of the ordinary. Marguerite Munn, who is exhibiting at this same time at the Arts Club, is twice represented, and well, by a study of “Gladioli” and a landscape, the latter an excellent transcription of a ’mountain, seen across an arid plain. Very appropriate to the time is a painting of "Cherry Blossoms"—trees in Potomac Park—by Ethel Foster, lovely in color and evanescent in effect and very sensitively rendered. Paula MacWhite is admirably rep resented by a small painting of the “Old Mission Church, Taos,” which ,is simple in treatment^ direct i toneful—outstanding. Catherine C. ! Critcher, who has, as every one knows, won enviable reputation by her paintings of Indians, exhibits here a group of two, behind a table, on which stands a bowl of bright colored zin nias, quite in her usual manner and style. Mathilde Mueden Leisenring makes valuable contribution to the collective showing through two still life studies—one of "Things Prom Nan tucket,” a group of objects of nauti cal origin on a very plain table, and the other red zinnias on a red table— both of which are gravely but very knowingly painted. Whatever Mrs. Leisenring paints invariably shows knowledge and sensitive emotional quality—charm. Other still-life paintings of notable merit are "White Roses,” a water color by Clara R. Saunders, very subtle in treatment; "Cyclamen,” by Elizabeth E. Graves, which is delight fully colorful and well composed, and "Winter Bouquet,” boldly rendered and very impressive in color as well as treatment, by Lona Miller Kep linger. Among the water colors of special note are three foreign scenes—one in Tripoli, another in Rhodes, and a third in Morocco—by Eleanore Parke Custis, done in her skillful and ac customed way in gouache; an in terior, "The Studio,” and two street scenes, one in Taxco, Mexico, and the other in Sarajevo, by Susan B. Chase, the accomplished secretary of the Water Color Club; a marine, “Gray Day, Bass Rocks,” by Lucia B. Hollerith, painted with breadth ana excellent ieeung; two Dy jviar garete Lent Mulford—a "Light House” standing stark against the sky, the other, "Christmas Snow In Washing ton,” a more elaborate composition presented no less boldly, and "The Edge of the Wood,” by Ruth Osgood, which is pleasing in color and good in construction. Others making interesting contri butions are Helen F. Collison. Grace M. Ruckman, Cathrine P. Melton, Blanche H. Stanley. Edith Hoyt, Mar^ K. Porter and Gladys Milligan. This exhibition continues to the end of the coming week. Floieers and Figures Constitute April Exhibition. TN THE Women's City Club, Jackson place, is now to be seen a collection of paintings by Hattie E. Burdette of this city. Miss Burdette is best known as a portrait and figure painter, but she is exceptionally skillful also in the painting of still life and flowers, by which in this exhibition she is largely represented. These have charm of color, are decorative and very dis tinguished. One of the canvases is of a great bunch of peonies in a jar, very double and handsome; another, no less pleasing is of single peonies in exquisite arrangement. There is something splendid in the arrogance of these flowers, and yet with all their color they are no more engaging than her study of white iris or of a few white roses in a cream-colored vase. These last are toneful and in rather a low key, but quite opposite are studies of “Garden Flowers” and "Old Glass,” high-keyed and rather impressionisti cally rendered. Among the portraits shown are the three-quarter length of Miss Helen Lippitt in ivory satin gown, which found much favor when shown in the Society of Washington Artists’ most recent exhibition, and a head in profile of "Miss Dudley Gregory.” "The White Hat” and "A Wanderer” are studies made in the studio from chance models and revealing as well as strong. In addition there is a landscape painted some Summers ago at Sorrento, Me., showing one of the mountains of Mount Desert in the distance; a "Decorative Panel” with figures, a figure of a young woman examining "Old Prints,” and several intimate little garden pictures with Interesting vistas. The more than 20 paintings in this exhibition are distributed through three rooms and take their places on the walls with appropriateness, as well as effectively. No one could fail to find the collection pleasing, and fortunately the Women's City Club is, under such circumstances, hospitable in admitting visitors. Paintings by Glackens Purchased By Corcoran Gallery of Art. 'J'HE Corcoran Gallery of Art an nounced this week the purchase of a painting by William J. Glackens entitled “The Luxembourg Gardens,” included in the Fifteenth Biennial Exhibition of Contemporary American Paintings for its permanent collection. It is a small canvas, picturing adults and children in a section of a green park which might be in Paris—and doubtless was—or in tfew York or Washington. It is one of three paint ings by which Mr. Glackens, chairman of the jury of admissions and awards for this biennial exhibition, was repre sented therein. It is a comparatively early work, but considered representa tive. Glackens was born in Philadelphia in 1870. After studying at the Penn sylvania Academy of Fine Arts he went abroad, where he worked under well-known master* of the day. In 1806 he was made an associate mem .V “Miss Dudley Gregory,” by Hattie E. Burdette, on exhibition at the Women’s City Club. —Star Staff Photo. ber of the National Academy of Design and in 1933 elected to full membership. Meanwhile Mr. Glackens had associated himself with those of the so-called “left wing,” the “Society of Independent Artists,” and other rather radical groups, but his work has never been extreme, and more than once it has been honored by awards voted by his conservative col leagues. Among these are the Temple Gold Medal, the Second Carnegie Prize and the Beck Gold Medal. Ex amples of Mr. Glackens’ paintings are to be found in the Metropolitan Museum, New York; Chicago Art Institute, Detroit Institute of Art, Whitney Museum of American Art and the Phillips Memorial Gallery of this city. Paintings Sold From the Corcoran Biennial Exhibition. J^IVE sales have been made of paint ings in the biennial exhibition, in addition to the one previously men be awarded. Each visitor will be given a ballot to fill out and cast for the painting which he, or she, considers most meritorious. Thus the public may confirm or reverse the judgment of the professional jury. But this should be kept in mind—whereas in this case all works on view are eligible, many, for one reason or another, were not competing for the jury awards. The "popular award." the public co operating, should register the attitude of laymen to the art of the painter, and has, therefore, double significance. Without a sympathetic and under standing public, no art can flourish long. But sympathy and understand ing are not always synonymous with I connoisseurship, and that is where the public and the artists often part company. An Exhibition of Book Binding Of Notable Interest. fyjiss MARIAN LANE, accom plished bookbinder and illumlna “Cherry Blossoms" by Ethel Foster, included in the exhibi tion of “Twenty Woman Painters," at Jelieff's Art Gallery. ___—Star Staff Photo. tioned to the gallery itself. These in clude the Mattson "Wings of the Morning,” acquired by the Metropoli tan Museum of Art: "Death on the Ridge Road,” by Grant Wood, so urgently desired by a West Coast pur chaser that it was removed and de livered: “Western Landscape,” by Trentham, and “One O’clock Leave,” by Krawieo—no one of which can be said to be a really notable canvas. This is in striking contrast to the sales that were made from, the bien nials 10 years ago, which were out standing. Has taste changed, are the painters not meeting the require ments, or are the potentialities of art patronage vanishing? Popular Prize to Be Voted For By Public Next Week. J^URiNG the coming week visitors to the biennial exhibition of contemporary American paintings in the Corcoran Gallery of Art will be given opportunity to vote for the painting therein to which the "popu lar prize,” offered by the gallery, shall tor. Issued Invitations the first of this week to an exhibition of her pupils’ work in bookbinding, begin ning Thursday and concluding today, at her studio, 1920 S street northwest. Miss Lane has the gift of imparting knowledge and the patience which is requisite to good teaching. Her pupils, one and all, make excellent "report,’' showing work which upholds high standards of craftsmanship. Such crafts should be generously supported, for they may not develop taste but encourage submission to discipline without which no art can be brought to perfection. Each of the three days of this exhibition a demonstration of bookbinding has been given at half after 3 o'clock. The Corcoran School Sets Forth a Jolly Fake Show. JN CONNECTION with the biennial exhibition mention should be made of the rather Jolly exhibition of "Fakes” which the students of the Corcoran School have put on at this Bulletin of Exhibitions CORCORAN GALLERY OF ART—Fifteenth biennial exhibition of contemporary American oil paintings. NATIONAL GALLERY OF ART, United States National Museum— Permanent collections—Evans, Gellatly. Ralph Cross, Johnson, Harriet Lane Johnson and Herbert Ward African sculptures. Stained glass windows by John La Farge and William Willet, paintings and etchings by Thomas Moran,” Exhibition of paintings, sculpture and other works of art by Washington artists, sponsored by art department, District of Columbia Women’s Clut*. SMITHSONIAN INSTITUTION, DIVISION OF GRAPHIC ARTS— Exhibition of etchings by Frederick K. Detweiler. NATIONAL .MUSEUM, ARTS AND INDUSTRIES BUILDING— Exhibition of pictorial photographs by Eleanor Parke Custis. FREER GALLERY OF ART—Permanent collection, paintings, drawings and etchings by Whistler. The peacock room, Oriental paintings, bronzes, pottery, miniatures, etc. PHILLIPS MEMORIAL GALLERY—Permanent collection, paintings by old and modem masters; also works in sculpture. Loan exhibition of important paintings and sculpture owned in Washington—-exhibi tion drawings by Pierre Bonnard. STUDIO HOUSE—Exhibition of prints and drawings by Mateo Hernan dez, opening April 29. TEXTILE MUSEUM OF THE DISTRICT OF COLUMBIA—Permanent collection, rugs, tapestries and other textiles of the Near and Far East. Open Mondays, Wednesdays and Fridays, 2 to 5 p.m. Admis sion by card, obtainable at office of George Hewitt Myers, 730 Fifteenth street. ARTS CLUB OP WASHINGTON—Exhibition of paintings and block prints by Marguerite C. Munn and paintings and etchings by Elisa beth Searcy. LIBRARY OP CONGRESS, DIVISION OP FINE ARTS—Exhibition of etchings and other prints by contemporary printmakers: Pennell lithographs; drawings by American illustrators. Special exhibition of illustrations by Frederic Dorr Steele. PUBLIC LIBRARY, MAIN BUILDING—Exhibition of works by pupils of Richard Lahey; Mount Pleasant Branch, paintings by Mrs. Levine and Janice Holland. WOMEN'S CITY CLUB—Paintings by Hattie E. Burdette. DUMBARTON HOUSE—Historical art exhibit, furniture, articles of utility and pictures. INTIMATE BOOKSHOP, LITTLE GALLERY—Exhibition of water colors by Mitchell Jamieson of Virgin Islands. GALLERY OF MODERN MASTERS, 1367 Connecticut avenue—Water colors of New England and the West by Howard Giles, opening April 26. HOWARD UNIVERSITY GALLERY OP ART—Exhibition of water colors by Oscar Julius. ART GALLERY, JELLEPP’S—Annual exhibition of Twenty Women Painters of Washington. "The Snob,” by Gladys Nelson Smith, included in the exhibition of “Twenty Women Paint ers,” at Jelleff’s Art Gallery. —Star Staff Photo. time. The walls of the large room I to the right of the New York avenue entrance are covered by paintings by the “youngsters” “taking off" the works of their “grave and reverend seniors” in the great gallery show. And how sharp they are in discover ing vulnerability, and with what skill j they succeed, now and then, in “hit- | ting the nail on the head.” And “no disrespect meant” or “offense taken." In fact, to be “faked” is, in a meas ure, an honor under such circum stances. Two of the prize winners, ' “Meditation,” by Du Bois, and j “Snakey," by Bernard Keyes, have I furnished excellent material for the [ fakers, as well as "Model in Dressing ; Room,” by Sloan; "Missouri Musi cians,” by Benton; “Wings of the Morning,” by Mattson, and “A Muse." i by Brackman. The holding of such an exhibition was a capital idea; sport \ of this kind helps to clear the air. Studio House Will Show Drawings and Prints. J^EXT Thursday, April 29, Studio House, 1614 Twenty-first street,, will open an exhibition of prints and j drawings by the Spanish sculptor, Mateo Hernandez, who has made a specialty of sculpture of animals. The Metropolitan Museum of Art acquired last year a “Black Panther" by Her nandez, carved in diorite, which, like everything this artist does, was cut by him directly from the block. Add ed to the difficulty of this technique is j the fact that the materials he uses | are among the hardest known. This exhibition of his prints and drawings j will introduce him to Washington art lovers. Opening on April 29 and continu- j ing to May 10 in Studio House will ; be an exhibition of recent work by a ; group of artists of Washington and Baltimore, among whom are Alice j Acheson. Robert Ades, Julia Eckel, Robert F. Gates, Richard Lahey, Her man Maril, Marjorie Phillips. Pren tiss Taylor, Charles W'alther and Elizabeth Roberts. Howard Giles Will Exhibit Here. N EXHIBITION of water colors of New England and the West by Howard Giles will open with a pre view in the Gallery of Modern Mas ters, 1B67 Connecticut avenue, to morrow afternoon, to continue to June 1. This should prove of very great interest, as Giles is not only a good painter but a deep thinker and through his works and his teaching has exerted a strong and beneficent influence on contemporary art. For many years he was dean of the faculty of fine arts of the Master Institute of the Roerich Museum. He is one of those who believe that ‘‘the laws of or der in Nature are the principles of de sign in art" and is an exponent of the Hambridge theory of dynamic sym metry. It is in these same galleries that the painting entitled, "Passing Storm, Dolomite Mountains,” by Isobel Kuhl man, reproduced on this page on April 10, was shown, together with other studies of great interest by the same artist. Miss Kuhlman uses for the majority of her paintings oil colors, but in the manner of water color, in thin wash and with great delicacy. She is an indefatigable student and an eager investigator, and pushes her investigations to the limit of her field in order to extend knowledge and boundary. Mast striking in the col lection shown were interpretations of olive trees expressive of various emo tions or experiences. She, too. is an exponent of the Hambridge theory. Water Colors of Virgin Islands And Other Current Exhibitions. QTHER exhibitions now current and later to be reviewed are waters colors by Mitchell Jamieson, to be seen in the little gallery of the Inti mate Bookshop, 3204 O street, George town, the invitation to which carries a quotation from Mrs. Roosevelt's re cently published autobiography, "My Day,” commending and telling of the acquisition of one of Mr. Jamieson's paintings made in the Virgin Islands; exhibitions at the Public Library and its branches of works by local artists and an exhibition of water colors by Oscar Julius in the art gallery at Howard University. Lawrence Saint to Lecture On Stained Glass. T TNDER. the auspices of the Archeo logical Society of this city a lec ture on "Stained Glass—Is It a Lost Art?” will be given by Lawrence B. Saint, in the auditorium of Gunston Hall School, this evening at 8 o’clock. Mr. Saint was for eight years director of the Washington Cathedral Stained Glass Studio, during which period were produced and installed the 13 windows in the choir and the north transept rose window, as well as win dows in the chapels of St. Mary and St. John. Prior to his association here, he designed and Installed five windows in the Bryn Athyn Cathedral near Philadelphia. He has made ex haustive study of the glass in the great cathedrals abroad. 1 • Damage Suits (Continued Prom Page B-l.l verdict and pointed out that the plain tiff had obtained one almost as large —$40,000—in Boston. Strange and seemingly trivial occur rences led to Bonner’s delicious balm for ‘injured reputation.” The news paper attacks gfpw out of trouble! * with a commission file clerk, Mrs. Min nie L. Ward, who drove Frank W. Griffith, chief clerk, from her office writh a bombardment of water and eggs. When she was suspended, she sought redress by petitioning the high est authorities for action against Griffith and Bonner. JN JULY, 1935, after fighting the case in the courts for four years, Mrs. J. Borden Harriman, Minister-desig nate to Norway, got a judgment for $850 against Joseph P. Maher, a sub- J contractor, whom she charged with dumping dirt on shrubbery on her Ridge road property. The dirt came from an excavation for the home of the late Raymond T. Baker, former director of the mint. Compensation was obtained by Mrs. ] Emma Burris in the Summer of 1932 1 for the death of her husband by sun stroke. Burris died while loading old curbing into a truck when the tem perature was 92 and there was no j shade. The Court of Appeals held that the character of the work was principally responsible for the stroke and directed the United States Em ployes’ Compensation Commission to compensate the widow. A judgment of $250 was obtained ! in May, 1935, by an evicted couple i against a United States marshal who j had dispossessed them. The award was to cover damage by rain to furni ture moved out of the couple's resi dence during dispossession. Evalyn Walsh McLean, she of the | Hope diamond, lost, in 1934. a dam- \ age suit brought by Attorney Albert W. Fox for money he claimed was due him for services in the divorce litigation between Mrs. McLean and Edward B. McLean, former publisher of the Washington Post, and in con nection with her attempt to ransom the Lindbergh baby. Mrs. McLean testified she dismissed Fox after he had said she was considered men- I tally deficient, but the attorney was awarded $3,000. He asked $22,700. j ^^UTOMOBILE accidents are, of course, the chief producers of damage suits. One of the biggest awards made In the past five years for injuries caused by an automobile was not, however, in the ‘‘traffic” category. Harrison Herlinger, a young me chanic, was working under a car in a garage. A parked salt company truck, which had been left in re- | verse gear, backed against the ma chine under which Herlinger was working, causing it to fall on the mechanic. Herlinger lost the sight of one eye and one side of his face was paralyzed. He obtained a judg ment against the salt company for $32,500. One of the motor trips which Presi dent Hoover regularly made to his Rapidan camp in Virginia gave rise to a noteworthy damage suit, Mr. Hoo ver liked to be driven rapidly. Fol lowing him was the usual train of automobiles bearing Secret Service men and newspaper correspondents. Properly to cover their assignment the latter had to keep up with the President’s car, which meant keeping the line of cars in the party unbroken and traveling at a high rate of speed, j Among the correspondents, in their own car, was Frank Connor, with j wife. A big interstate bus nosed into the ‘‘line of march" and struck j Connor's car. Mrs. Connor was seri- j ously injured. Both husband and wife brought suit against the bus company. Connor lost, but his wife was awarded $5,000. The accident also had this out growth: Correspondents covering the White House petitioned the Presi dent to reduce the speed of his driving on auch trips. Sun (Continued From Page B-l.l experiments were resumed in 1920 bv substituting sheets of glossy rolled aluminum. These aluminum sheets were thick enough to preserve their shape when screwed to the steel. They added very little to the weight of the mirror and were found to reflect about 75 per cent of the total solar radiation.” Some driving mechanism next had to be devised to cause the mirror to follow' the apparent daily march of the sun. Instead of the highly expensive astronomical clock and mechanism used by astronomers for such purposes, Dr. Abbot devised a cheap clockwork contraption that allowed the mirror to turn a little faster than it should to follow the sun. At the end of each five minutes, after being held ba^k by this gadget, the machinery was permitted to run again and revolve the mirror. The whole driving outfit cost about $15 and three days' work and has op erated, according to Dr. Abbot, for about eight hours a day perfectly satisfactorily through several Sum mers. The reservoir that stored the sun’s heat was made of steel, with welded corners, and stands on a platform about 6 feet above the top of the mirror. There is a device which re stricts the heating in the early morn ing to the upper oven in the reservoir, and then, when this is hot, to dis tribute the heat throughout the whole reservoir. Reservoir and pipes are pro tected from loss of heat by special earthen bricks. In the ovens tem peratures of 175 degrees centigrade are readily attained, hot enough to bake bread. In its present position on Mount Wilson the reservoir and mirror are partly shaded in the early morning and altogether shaded after about 2 o'clock in the afternoon by trees, so that only about seven hours a day of sunlight are available. Never theless the temperature of the ovens remains always above boiling, so that many kinds of food can be cooked at night if desired. . Fruit, declares Dr. Abbot, is pre served with great ease. The pre pared fruit is put Into glass jars, cov ered over with sirup and left over night in the lower oven. In the morn ing the jar covers are fastened down while still hot. The cooker is also convenient because foods may be pre pared in a cool kitchen with no danger of burning in the well-tempered heat. Foods may be left to cook for hours without harm and meats and vege tables become delicious viands indeed when cooked by the sun. Dr. Abbot has many interesting things to tell about solar power. For example, he points out that the wasted solar energy in deserts is thou sands of times more than all the power requirements of the world. If that energy could be maintained con stantly it could be made to compete on equal terms with coal at about $3 a ton. It must be remembered, Dr. Abbot reminds us, that solar radia tion is interrupted by night and by clouds, so that an efficient power or heat storage would have to be pro vided if large solar power plants were used. Perfecting arrangements for power purposes would present the most dif ficult problem in developing solar radiation for commercial purposes. Dr. Abbot believes, because of the necessity for improved niethods of storing the heat on a /arge scale. But he does not considejr the prob lem insurmountable by any means, simply open to further and more as siduous study than it has received so far. as ior me use oi me sun ior cook ing and for similar purposes, he is enthusiastic, for present experiments are working in such a highly satis factory manner. Conceding that there are certain sections of the United States where solar radiation is more constant and intense than in other sections. Dr. Abbot still believes that over a great portion of the United States solar power is possible and practicable. The State of New Mex ico alone, he points out. receives near ly 100 times as much solar heat as the combined consumption of coal, oil and hydroelectric energy in the United States, if expressed in heat units. "Evidently," he states. "New Mexico would be a rich State if she might utilize thus free gift from the sun without costly devices for applying it. There lies the crux. Is it possible to utilize solar radiation for power without prohibitive expense for the machinery?" Dr. Abbot believes that it is, provided such machines can be built on a quantity production basis. In addition to the heat collector and solar engine, Dr. Abbot is the in ventor of the solar cooker, a solar distiller and a solar toy for “children or grown-ups” that will cook food or run small engines by the power of the sun alone. With his distilling apparatus it Is possible to distill waters charged with alkali, for example, such as are found in the Southwest regions. The distill ing is entirely a solar process. He has also invented what he calls a “flash-boiler.” This instrument was demonstrated by Dr. Abbot before the American Association for the Advancement of Science in Washington during the Patent Centennial celebration and has also been demonstrated in other parts of the country. For a season it was on display at the Smithsonian Institution in Washington, as was also the solar engine. By means of the flash-boiler it Is possible to generate heat available for all purposes five minutes after solar radiation has begun. Fine Old Brass and Bronie Incense Burners, Flower Containers, Mongo lian Stirrups, Spear Heads, Bowls and Candlesticks. ASIAN ARTS 1143 Conn. Ave. NAt. 4535 Abbott Art School SPRING AND SUMMER CLASSES Commercal Art — Fashion — Life — Costume Designs—Fine Arts— Interior Dec. — Etching — Block Print 1143 Conn. Ave. NA. 8054 Cezanne, Seurat, Picasso j Gauguin, Modigliani | Prendergast, Davies, others ) From the i CORNELIUS J. SULLIVAN j COLLECTION j Exhibition from April 24 ) Auction April 29 O 30 j Send $1.00 for Illustrated Catalogue ) American Art Ass’n ; Anderson Galleries i $0 East 57 Street, New York I