Evening star. [volume], May 22, 1937, Page B-3, Image 19

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
GALLERY REHANGS EXHIBITS
Corcoran Permanent Works Return As Renewed Interest Is
Shown By Art Public—Supreme Contributions Increase
Value of Great Mellon Collection.
"Arlington Magnoliasby Mathilde M. Leisenring, on ex
hibition at the Arts Club.
By Leila Mechlin.
WITH amazing swiftness and
efficiency the Corcoran
Gallery of Art's Fifteenth
Biennial Exhibition of Con
temporary American Paintings was
taken down recently and dispersed,
the permanent collection released from
'storage and rehung. This meant the
handling, and very expert handling,
of approximately 1.000 paintings, and
the whole task was completed in less
than 10 days.
Obviously, it would be an advantage
If the Corcoran Gallery of Art did
nor have to dismantle its galleries for
the biennial exhibitions. Setting
aside the matter of labor, there is, in
variably, during these weeks, disap
pointment on the part of out-of-town
visitors who have counted on seeing
the permanent exhibits. On the other
hand, however, the familiar works
undoubtedly gain bv being temporarily
put away, for, as in the present in
stance. they return with renewed in
terest and significance. It is good
to have them back.
No great changes have been made
Ifriis year in the rehanging. Old fa
vorites are for the most part where
they have been, but some slight ad
justments have been made to accom
modate the most recent acquisitions.
The lately acquired painting by Glac
kens. "Luxembourg Gardens,” balances
on the south wall of one of the small
comer rooms, the painting by John
6!oan of a group of persons in a French
cafe, purchased from a previous bi
ennial exhibition, and with which it is
in accord, in shape, tone and general
treatment. In this gallery, also, now
hangs a "Still Life." by Henry Lee
Me Fee of Woodstock, N. Y„ which
was acquired by the Corcoran Gallery
of Art just before the current show
closed. It is entitled "Corner of a
Room" and represents the painter at
his best, more suave than usual and
without lass of individuality. This
canvas appears to much better ad
vantage as now hung, than when
•hown in the biennial.
The Corcoran Gallery of Art has
always sponsored the works of con
temporary American painters, and its
collection of American paintings is
one of the best, if not the best, in the
country. Also it is kept up-to-date.
The Glackens and the McFee were
undoubtedly both acquired in accord
ance with this policy. In fact, two
galleries are now practically given
over to works by the so-called modern
school, works which, while not ex
treme, are fully representative of
achievement. innovations. trends.
Kappily. however, the story is told
from the beginning, and as the ar
rangement is chronological, the visitor
may here acquaint himself fully with
the history of the art of painting in
America from the time of Copley to
the present day. And how much rea
son there is for pride in the works of
.certain outstanding painters, all along
the line, as set forth in this collec
tion! How well in many instances
they are found to stand the test of
time!
Take, of example, the early por
trait painters. Copley, Stuart. Hard
ing, Healy, who through a hundred;
and more years have not been sur
passed: or the landscapists. Inness
and his school; and after them the
figure painters—George de Forest
Brush, Sargent, Melchers, down to
our own day. Sargent's beautiful,
full-length portrait of the late Mrs.
Henry White, a loan, hangs again in
'the place of honor on the east wall,
opposite the grand staircase, while his
youthful essay, full of joyousness and
good painting—"The Oyster Gather
ers.” owned by the Corcoran Gallery
of Art. is hung as heretofore, in an
adjacent gallery.
Inness great canvas. “Sunlight in
the Forest,” acquired during his life
time by the gallery, occupies a prom
inent place in' this collection, and
is at present supplemented by a dis
tinguished loan from the Brecken
ridge Long collection, a sunset, gently
and poetically realized by this same
painter—a much later work.
Also representatively of advance in
this field are the large, freshly painted
landscapes by George Elmer Scho
field and the late Gardner Symons,
so full of dazzling sunshine and fresh
air that they may rightly be regarded
as miracles of interpretation. But
the list is long—each must seek out
his own favorites.
However, the tale is continuous and
•till in the making. The works cf
«the past were, we see, not only
rooted in tradition, but tradition mak
ing; by them we must measure worth
and estimate progress. Wherein, we
ask ourselves, does the difference lie,
Not in competence as much as in
concept. Not in the art itself, but
In the artists’ attitude toward art.
By eating of the “forbidden fruit" we
seem to be in danger of losing “Para
dise.” The difference between the
old and the very new is undoubtedly
*in spiritual content. In a world no
less beautiful, the quest is for rather
grim realism. From such, the better
part of the Corcoran Gallery of Art’s
permanent collection affords escape.
The Government Art Projects
Discussed From Various Angles.
AN ENTIRE session of the American
Federation of Art’s Annual Con
vention, held here last week, was
given over to the discussion of the
Federal art projects and what they
may lead to. The first speaker on
jhe program was Edward B. Rowan,
superintendent of the section of paint
ing an,d sculp.uye of the Procure
ment Division of the Treasury De
partment, who, paying high tribute
to his chief, Edward Bruce, organizer
and director, told at length of the
extensive program of current activity
which takes the form of the decora
tion. by mural paintings principally,
of more than a thousand public build
ings, work acquired on a merit basis
with public funds, the co6t approxi
mating nearly one million dollars.
Mr. Rowan was followed by Thomas
C Parker, assistant to the director,
Holger Cahill. Federal art project,
W. P A., through the instrumentality
of which more than three thousand
artists are employed, as a relief meas
ure, at a living wage, and an extensive
educational program is carried on.
The picture of this astounding ac
j tivity, reaching to the farther-most
! corner of our country, and, accord
. ing to Mr. Parker, adapting us to a
j new life under completely changed
1 conditions, was finished by D. S.
Diefenbacher, assistant regional ad
viser. who told of the establishment of
community art centers in the South
and West on a co-operative basis and
their conduct under governmental su
pervision and management.
Then came three women speakers
and an artist, Dorothy Gray, critic
of the Philadelphia Record, speaking
from personal observation and as the
daughter of the late Charles Grafly,
sculptor, reared In studio environ
ment, deprecated the lack of concern
apparent for quality in production;
the low standard maintained, and
questioned gravely the improbability
of the artists now employed becoming
self-supporting. These fears were,
however, brushed aside by Mrs. Hal
pert of the Downtown Gallery, New
York, who was of the opinion that, by
lowering prices and increasing pub
licity, a new public for works of art
was being created. The third woman
speaker was Mrs. McMahan, secre
tary of the College Art Society and
actively engaged on the W. P. A. art
project in New York, who admirably
summarized all the facts brought out
by the several preceding speakers.
However, before this excellent conclu
sion, a painter and art teacher, Ar
shile Gorky of New York, was intro
duced and permitted to present his
point of view, which was essentially
that of those who demand support
and feel that they may do so as a
right, regardless of achievement. Ac
cording to Mr. Gorky, the only living
art is that of the present—the only
remedy for unemployment—unioniza
tion. The art of the past was scorn
fully referred to by this speaker as
produced to flatter the rich patron,
and the collector of today, who bought
and gave such to the public as seek
ing publicity.
By the audience the utterances of
this speaker were taken in jocular
mood, and no opportunity was given
for general discussion. However, op
portunity came later at the luncheon,
and was admirably used by Dr. Henry
M. Wriston, the new president of
Brown University, a member of the
Board of Trustees of „he American
Federation of Arts, who presided at
the morning session. With extraordi
nary force and clearness, in a flve
minute speech, this eminent educator
discipated much of' the fog created by
confusion of facts and ideals. He
promptly and firmly rejected the sup
position that today differs utterly from
yesterday—“We know more of the lat
ter than the former,” he said, "that
is all”; defended the great art of the
past on the ground of universality,
today as yesterday and tomorrow, and
he asked with startling directness,
“Why must the artist live—if he has
nothing to give?”, reminding his list
eners that in the history of mankind
the greatest gifts had come out of
poverty, rather than plenty.
Such frank dicusslon of the Fed
eral Government’s art projects and
program could not fail to be thought
provocative and helpful.
Annual Summer Exhibition
Of Members’ Works Opens
In the Arts Club.
rJ''HE last of the current season's
exhibitions opened in the Arts
Club the first of this week. It con
sists of the annual Summer exhibition
of members’ works and will continue
until early Autumn. Twenty-two oil
paintings are hung in the gallery and
an equal number of water colors and
prints in the reception room, dining
room and hall. The collection, as a
whole, is not so good as it might be,
but there are some interesting and
excellent exhibits. Outstanding, for
example, among the oil paintings is
an interior, “Room at Arlington,” by
Charles Bittinger, president of the •
Society of Washington Artists, which
attracted much favorable notice when
recently shown in the Corcoran Bi
ennial Exhibition. Mr. Bittinger (who,
by the way, is accompanying the
expedition of scientists to view the
solar eolipse from a South Pacific
island) has made a specialty of in
teriors. but rarely has he painted
with such breadth and command as
in this instance. Not only does he
present to us a charming room—in
design and furnishing Inherently a
work of art, but his presentation in
Itself is charming—the way it is
done is quite as delightful as the
thing itself. But how skilfully the
effect has been produced, how excel
lent is the composition and how at
tractive the color scheme, enlivened
to the right degree by a touch of
flaming crimson in precisely the
proper place. And, what is more,
this room has atmosphere—it is a
place presumably lived in, pregnant
with life, whether of the present or
"Toward Petersburg, Va ,” by Garnet Jeion exhibition at the Arts Club.
the past, and life lived with grace
, and dignity.
There is interesting coincidence in
the fact that in this same exhibition
a second canvas is of Arlington. This
is a still life—a great bunch of mag
nolias—by Mathilde M. Leisenring—
which flowers grew on the historic
Arlington estate. This, too, may be
recalled as shown in the Corcoran
Biennial Exhibition and especially
well hung. It is broadly and strongly
painted with that feeling for sheer
beauty and knowledge of art which
distinguishes all of Mrs. Leisenring’s
canvases
A second contribution by this same
artist to the current showing is a
portrait of a lady in a green gown,
effectively hung over the front mantel.
Clara R. Saunders is represented
in this exhibition by a life-size por
trait study in water color, entitled
"Mademoiselle,” very skillfully ren
dered, and an oil, a Spring landscape
in the composition of which a blos
soming fruit tree in the foreground
is chief factor. There is something
very lovely about this little oil paint
ing, an emotional quality held in
proper restraint but recorded with
a significant lightness of touch.
Margaret Zimmele is at her best
in a small painting of a "Great Pine
Tree," well draw'n and pleasing in
pattern. Marguerite Munn shows a
simplified but rather dramatic view
of the country near "La Granja,
Spain,” and Edith Hoyt an excellent
rendition of "The Edge of a Glacier"
in its mountain fastness. Among
other outstanding landscapes are
"Country Road in Spring,” subtlely
rendered by Minor S. Jameson, and a
characteristic Midsummer picture,
"Towards Petersburg, Va.,” by Garnet
Jex.
An out-oi-town member, Heldegard
Hamilton, is well represented by a
toneful painting of a "Street in Al
giers" showing a group of typical
Algerian houses on a hillside.
Among painters of still life, both
in water colors and oils, who are well
represented are Elizabeth E. Graves,
Prances Hungerford Combs, Mary
Lukenx, Jessie E. Baker and Isabella
B. Walker. All these and others are
commendable, but considering how
long this exhibition continues and how
few Summer shows there are for
which works need be reserved, it is
remarkable that the representation,
open to all club members, is not more
comprehensive.
Unusual Exhibition of Student
Work by Amateurs and
Professionals at Studio House.
'J'HE fourth annual exhibition of
work by the students at Studio
House opened on May 15, and will
continue through the 28th. It in
cludes paintings and drawings by
a professional group making advanced
studies in the studios of the Phillips
Memorial Gallery and Studio House,
under the direction of C. Law Watkins.
But also are shown works by adults in
a weekly class for amateurs—works
done for the fun of the doing, without
expectation of reaching a professional
level. Undoubtedly careful selection
has been made, for the average of
merit in the works set forth is prac
tically on a level. Also each work is
shown with dignity, and in a manner
calculated to Increase impressiveness.
Hiis is the way in which all art should
be shown, for if we do not prize it
ourselves how shall we expect others
to do so? But whether the merit
imputed is actual or not is a question
which the visitor is left to decide.
Certainly the paintings in the front
gallery make collectively a pleasing
showing and one which is thought
provocative. By no means is this
student work as we are accustomed
to think of it. These are not exercises
to increase facility, they are full
fledged flights. In some instances the
wings on which the painter would
mount may not have been strong
enough to carry him to his goal—but
one cannot withhold admiration for
the "sporting chance” he took in cour
age and good faith. Whether or not
such flights will eventually lead to
superlative achievement depends large
ly upon the power of capacity to equal
ambition. But it should not be for
gotten that some of the works shown
in this exhibition are by painters who
have gained admission to professional
groups—for instance, Elizabeth Rob
erts and Bernice Cross, both of whom
here show still life admirably painted.
They are "students," but as only every
painter is to his life's end. In the
purely amateur group Isabel Allen and
Kelsey Saint have both made very
creditable contribution. There are
three well, If somewhat stiffly, painted
figures, about one-quarter life size, by
Margaret Hall, which should be com
mended, and a portrait study in some
what similar style and of sincerity by
Eunice Barry ski. Engagingly naive
and quite out of the ordinary is a
small painting of a “Quartette,” four
musicians with their instruments,
seen against a warm, luminous back
ground, by Mary Winslow, a most
ambitious subject handled with very
surprising skill.
The section of the exhibition set
forth In the rear room includes a pre
ponderance of nudes, no one of which
shows a very adequate knowledge of
I the human form, or appreciation of its
rhythmic beauty. Well painted, there
is nothing more lovely; ill painted,
few things more offensive. Offsetting
these is a panel of drawings from life
by Lucia B. Hollerith, which, hanging
in the hallway near the entrance,
makes impressive showing and imme
diate earnest of Studio House poten
tialities. After all, drawing and paint
ing can be taught; art is a matter of
personal endowment and self-deter
mination.
Portraits and Racial Studies
By Eben F. Comins.
j^BEN F. COMINS gave a flrst.show
mg In his Connecticut avenue
studio last week of his recently-com
pleted portrait of Mrs. J. Borden Har
riman. Minister to Norway. It is a
three-quarter length, and represents
the sitter, in light blue evening gown,
seated in a chair upholstered In fab
ric of the same color, but darker
hue. It is, as portraits go, a good
likeness; the expression is alert and
friendly. Especially notable is the
painting of the hands and arms,
which are exceptionally strong and
shapely. This lately completed por
trait was still on the artist’s easel
and to be seen not only in the orig
inal. but also as reflected in a long
mirror, and to the utmost advantage.
On Mr. Comins’ studio walls were
also to be seen portraits of Vice Pres
ident Gamer, which was given a place
of honor in the annual exhibition of
the Pennsylvania Academy of Fine
Arts a year ago; of Justice Brandeis,
lately exhibited in the Corcoran Gal
lery, and of Dr. Lyman James Briggs,
director of the National Bureau of
Standards since 1933, the last but just
completed and a most admirable work.
Also in an adjacent room were
shown portrait studies of Mexican
peons and native Guatemalans made
by Mr. Comins last Summer. These
are in brown crayon and are very en
gaging, artistic and at the same time
of ethnological interest. As racial
studies they rank high, and from the
standpoint of draftsmanship and the
delineation of character they equally
excel. So interested has Mr. Comins
become in these people and their en
vironment that he proposes to spend
the coming Summer among them in
Guatemala.
Additions to the Mellon National
Gallery Collection and Their
Educational Uses.
ACCORDING to announcement
made by representatives of the
A. W. Mellon Educational and Chari
table Trust, seven more world-famous
works of art have been acquired by
Mr. Mellon for the National Gallery
collection. These consist of an addi
tional work in sculpture—a “Madonna
and Child,” by Donatello, and six
paintings as follows: “Nativity With
the Prophets Isaiah and Ezekiel,” by
Duccio di Buoninsegna; a thirteenth
century Sienese, “Flight Into Egypt,”
which is described as a very large can
vas by one of the Bellini family; "An
nunciation,” by Masolino da Panicale,
-«5
a fifteenth century Florentine: "St.
Jerome,” by Andre Mantegna of Pa
dua, of the same period, and two
Gainsboroughs—a "Landscape With
Bridge,” and a portrait of "Mrs. Sheri
dan,” all of which are of very great
value in themselves and as links in
the great collection, which is being
upbuilt with such breath-taking wis
dom and rapidity.
The educational value of this great
collection is being generously fore
stalled, with the permission of the
donor and his trustees, by the free
reproduction of the paintings in pub
lications of standing and repute.
During the past Winter several were
reproduced, full-page and in color,
by the ladies' Home Journal: more
lately, a series of eight was likewise
brought out by the magazine Fortune,
and now a "Portfolio of the A. W.
Mellon Collection,” comprising 2 '
plates in color and 15 in black ana \
white, has been issued by the '
Art News as a section of its special
number for 1937. Such publications,
obtainable separately, at nominal cost,
must take to the people of the Nation
an idea of the supreme importance
and beauty of the works acquired by
Mr. Mellon and included in his munifi
cent gift, in which all share and
benefit. Referring thereto, the Art
News says: "In 1939, when the Na
tional Gallery of Art opens, a new
period of appreciation by the public
and stimulation of the artist will begin
in America. Here a nation will mold
its esthetic consciousness on the basis
of works of art which, for the most
part, have been known on this side
of the Atlantic only in mechanical re
production or have been accessible in
private houses.” To which Fortune
adds, “As it stands, the Mellon col
lection ranks in quality and range
(though not in quantity) with the
10 leading galleries of Europe ” And
all of this in the comparatively near
future will be ours to visit, enjoy, and
profit by, any day and every day, here
in Washington. Our city will indeed
have added glory.
Great Loan Exhibition
Paintings by Renoir Opens
In New York.
A MONG the important events of the
week was the opening in the Met
ropolitan Museum. New York, of a
comprehensive exhibition of paintings !
by Renoir, one of the greatest masters
of the French nineteenth century
school, as well as one of its greatest
ornaments. This collection, which will
be on view for four months, comprises
65 paintings lent by a score of lead
ing art museums and American col
lectors. That no works have come
from the Barnes Collection of Merlon,
Pa., which is of all richest in the
works of Renoir, 1s the subject of
conjecture and comment. But it is
a superb assemblage and evidences
again the wealth of American collec
tions in world masterpieces.
Art and the Paris Exposition—
Loans From America.
YJLfORK on the new Museum of
Modern Art on the Quai de To
kio, Paris, which will be included in
the great International Exposition,
Bulletin of Exhibitions
CORCORAN GALLERY OF ART—Biennial exhibition of contemporary
American paintings closes May 9. (Open 2 to 6 p.m.) Special exhi
bition color prints of Oriental subjects, by Elizabeth Keith. Exhibi
tion of contemporary American Graphic Art assembled by The
American Artists Congress.
NATIONAL GALLERY OF ART, United States National Museum—
Permanent collections—Evans, Gellatly, Ralph Cross, Johnson, Har
riet Lane Johnson and Herbert Ward African sculptures. Stained
glass windows by John La Farge and William Willet, paintings and
etchings by Thomas Moran. Annual exhibition Association of Federal
Architects, foyer of National Museum.
SMITHSONIAN INSTITUTION, DIVISION OF GRAPHIC ARTS—
Exhibition of etchings by various well-known American etchers.
NATIONAL MUSEUM, ARTS AND INDUSTRIES BUILDING—
Exhibition of pictorial photographs by members of the Washington
Photographic Society.
FREER GALLERY OF ART—Permanent collection, paintings, drawings
and etchings by Whistler. The peacock room, Oriental paintings,
bronzes, pottery, minatures, etc.
PHILLIPS MEMORIAL GALLERY—Permanent collection, paintings by
old and modern masters; also works in sculpture. Special exhibition
of drawings, etchings and water colors by Reynolds Beal.
STUDIO HOUSE—Exhibition of work by students of Studio House during
current year.
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 Hyers, 730 Fif
teenth street.
ARTS CLUB OF WASHINGTON—Members' Summer exhibition. Paint
ings, prints and sculpture.
LIBRARY OF CONGRESS, DIVISION OF 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 Eugen Weisz.
WOMEN’S CITY CLUB—Paintings by Hattie E. Burdette.
DUMBARTON HOUSE!—Historical art exhibit, furniture, articles of
utility and pictures.
INTIMATE BOOKSHOP, LITTLE GALLERY—Sculpture, paintings,
drawings, water colors by a group of eight Washington artists.
GALLERY OF MODERN MASTERS, 1367 Connecticut avenue—Water
colors of New England and the West by Howard Giles.
HOWARD UNIVERSITY GALLERY OF ART—Exhibition of children’s
work of New York and Washington P. W. A, and facsimile repro
ductions of antique frescoes.
"Room at Arlington,” by Charles Bittinger, on exhibition at the Arts Club.
opening this month, is reported to be
nearing completion, and works from
the Luxembourg Museum and the
Petit Palais will soon be transferred
thereto. This building, the latest
word in modern architecture, has a
site covering four acres and is to be
permanent. It is two palatial build
ings tied together by a colonnade,
and its galleries are equipped with the
last innovation in lighting.
For the art exhibition in connec
tion with this International Exposi
tion 30 paintings are being lent by
American museums and collectors—a
very reasonable return for the loans
accorded us in recent years by the
French government and French col
lectors Among the museums lend
ing are: The Metropolitan, the Mu
seum of Fine Arts, Boston; the De
troit Art Institute, the Museums of
Toledo and Worcester and the Wads
worth Atheneum. such interchanges
of treasured possessions cannot fail
to advance international good will.
Our United States Building at. the
Paris Exposition is very modern m
style, of steel, glass and concrete con
struction, and will stand near the Quai
d'Orsai facing the Seine. It will house
commercial exhibits and our only art
display will consist of work produced
in the Federal Art Projects, which is a
pity. Thomas J. Watson of New York,
who is commissioner general for the
United States, is known as an art
patron. It was he who offered to
finance an American exhibit at the
International Exposition at Venice a
year ago, and at the last minute with
drew his subscription on account of
the claim made by certain artists for
rental fees for their paintings.
Academy in Rome Fellowship
Awards and Fontainebleau
Alumni Exhibition.
yyoRKs submitted in competition
for the American Academy in
Rome Fellowships were shown during
the past week in the Grand Central
Galleries, New York, and at the same
time the eighth annual exhibition of
works by alumni of the American
School of Painting at Fontainebleau,
France, was held in the Argent Gal
leries. on Fifty-seventh street. The
winners of the Rome Fellowships,
selected by distinguished juries of pro
fessionals. were announced as follows:
Architecture, to Richard Gardner
Hartshorn, jr„ of Yale University:
sculpture, to John Amore, student of
the Beaux Arts Institute of Design:
painting, to Clifford Edgar Jones of
Indiana, who studied in the John Her
ron Institute of Indianapolis; land
scape architecture, to John Finley
Kirkpatrick of Cincinnati, Ohio, a
graduate of Cornell University. The
value of these fellowships is estimated
at $4,000; the recipients are enabled to
study and travel in Rome and else
where during a two-year period. The
American Academy in Rome is
chartered by Congress.
Muirhead Bone, British Etcher,
Honored by the King.
Qn THE King's honor list at the
time of the coronation was Muir
head Bone, the great etcher, a most
brilliant dry-pointist, who was made
a baronet, and will henceforth be "Sir
Muirhead.” Similar honor was be
stowed on Hugh Walpole, the novelist
—thus the crown rewarded distinction
in the arts and evidenced intent of
royal patronage.
In our free country we have no
titles to bestow, but honor can be paid
in many ways, and when wisely given,
as in this instance, is very stimulat
ing. In our present scheme of en
couragement, those who have made
valuable contribution through achieve
ment seem to have been overlooked.
This should not be.
Print Exhibition
Corcoran Gallery of Art.
AN EXHIBITION of 100 prints en
titled "America Today” will open
In the Corcoran Gallery of Art to
morrow and continue for a fortnight.
This exhibition was assembled and 1s
set forth by the American Artists'
Congress.
Ready to Cook.
E'FFICIENCY is hitting poultry mar
keting in a big way. Now it is
possible to buy chickens all drawn
and ready t» pop into the oven or fry
ing pan after they are removed from
the container in which they are stored.
After being killed, this poultry is
immediately frozen. The full-drawn
carcasses of the various classes—
broilers, fryers, roasters and fowl—are
wrapped in cellophane and labeled
with the inspection legend of the
bureau. The birds usually are packed
six to. a box.
CALVARY HORSES
(Continued From Page B-l.l
one time or even in a single year,” !
Maj. Grow said in an article he pre- I
pared for the Cavalry Journal, “they j
would, indeed, have been considered !
revolutionary. They are no less so in
their effect, though they have re
sulted from a steady, but rapid pro
gression.
“The outstanding feature of t^e
picture is the ’iron horse.’ The in
crease in automatic arms is but mod
ernization of older weapons. The
abandonment of animal-drawn trains
and the use of fighting vehicles is
more. It is a substitution of the new
for the old.
"The age-old comradeship between
man and horse, which has so long
been synonymous with Cavalry, has
reached a partial parting of the ways.
The iron horse has arrived. He is, by
no means, a perfect substitute for
our equine friend. He is not so
ntmble-footed, he cannot see. he lacks
the heart of our warm-blooded com
panion. But our new horse is sturdy,
fast and tireless, and he dares face
the deadly machine gun. He is a new
breed whose blood lines go back only
to the World War. Although he will
always lack the heart and nerve of his
animate predecessor, we may confi
dently expect the breed to improve
under the expert hands of our tech
nicians."’
''THE World War. it was pointed out,
emphasized two things above all
others—the fact that all World War
armies were deficient in highly mobile
troops of great fighting power at crit
ical times, and the pre-eminence of
fire power as a decisive element in
battle.
One of the principal reasons for the
success of some of the great armies of
the past was that from one-sixth to
one-fourth of their fighting strength
was composed of highly mobile units,
Maj. Grow pointed out. These units
not only served to cover the strategic
and tactical maneuver of the main
force, but also exerted decisive in
fluence in battle at the critical time
and place.
‘ The highly mobile fighting element
of an army is its cavalry," Maj. Grow
explained. “The long-accepted defini
tion of cavalry as troops mounted on
horseback is likely to lead the unwary
student astray. The applicatloin of
mechanization to warfare has not al
tered missions, but its application to
cavalry has materially assisted the
latter to carry out its missions. We
hear of ‘moto-mechanized’ divisions,
‘mobile’ divisions, the ’Panzer Corps,’
etc. It seems to be the fashion of the
times to apply a mechanical name to
these units. But have new missions
been developed for them? Not at all,
they are designed to carry out cavalry
missions.
"Many may dispute this statement,
saying that the mission of cavalry is
reconnaissance and similar functions.
Such reasoning is superficial and not
based on the fundamental conception
of properly balanced military forces or
upon the history of cavalry. Recon
naissance and its attendant duties are
often of primary importance for a time
and are rightly delegated to cavalry,
but when the critical battle is entered
upon, the skillful commander has his
cavalry in hand for its primary mis
sion, to fight.”
Maj. Grow said that American Cav
alry is fully aware of the demands to
be placed upon it. and within the past
20 years it has cast aside traditional
arms and equipment and taken on
every tested device and improvement
that an inventive people could pro
duce to render it a more effective
fighting force.
"How rapidly the machine can re
place the horse only time can tell,”
Maj. Grow said. "Within two decades
we have satisfied ourselves that it has
earned a place in each and every cav
alry regiment for some special purpose
and, even more, that in part of our
regiments it can completely replace
the horse. Pew believe that any of us
will see the horse elir -ated from the
battlefield, but still x^v.cr doubt that
improved breeding of the iron horse
will rapidly fit him for much more
extensive and more effective use.”
A LONG with the iron horse, how
ever, the flesh-and-blood steed
has Improved—“more in the past 20
(almost within the past 10) years than
during the entire history of our coun
try.” The mobility of horse cavalry,
Maj. Grow said, is greater today than
ever in spite of the increase in num
bers of pack loads.
“It is with minded feelings of regret
and relief that we see the mule fade
from the picture,” the major said.
"Traditionally the most dependable
source of transport power in history,
he failed to keep pace with the thor
oughbred and was destined to give
way to the truck as soon as the latter
proved its worth. • • •
"Addition of scout cars was natural
and obvious Probably no other piece
of equipment was ever as readily and
wholeheartedly accepted by every
cavalry unit. * * * Motor cycles have
not changed so much in the past few
years as most other iron horses. Their
reputation has not been of the best.
They are too partial to good roads and
dry footing. But recently more at
tention has been devoted to them. It
would not be surprising if one of the
most important developments of the
next 10 years would be in this type of
\ehicle. During 1937 a motor tri
cycle with two driven wheels will get
a thorough test as a means for the
cross-country transportation of fire
power. The solo motor cycle is still
pre-eminent as th$ watchdog of the
highways, to say nothing of its high
courier dependability.”
Much of the credit for improvement
of the efficiency of horse cavalry is
given by cavalrymen to Col. Albert E.
Phillips, Cavalry, "who has supplied
the link between firepower and mobil
ity that has welded horse cavalry into
the flexible fighting unit it is today.”
During the past 20 years, according
to MaJ. Grow, a horse cavalry regi
ment, w-ith two-thirds of its former
strength in men and mounts, can de
velop more than twice its former fire
power through development of the
light machine gun. which has become
one of the principal cavalry weapons.
"As we pause to look back over these
20 years," Maj. Grow said, "the picture
of horse cavalry is astounding. We
feel a glow of pride as we realize the
strides we have taken. More than
that, we have a comforting assurance
that if the past 20 years had witnessed
this, the next 20 must hold a tremen
dous future."
Flavor Is Saved.
\ NEW use has been found for
apples which are too ripe for
shipment to market or which have
become bruised or blemished.
Through a new device perfected by
the Department of Agriculture, the
Juice is extracted and condensed in
such a manner that all the bouquet
and flavor are retained.
A new-type vacuum concentrator
designed at the United States De
partment of Agriculture fruit and
vegetable by-products laboratory,
Pullman, Wash., traps vapors from
apple juice as it is concentrated, then
condenses them so that they may be
combined again with the concentrated
juice to restore the natural bouquet
and flavor. r
Vapors from apple juice heated
while flowing through a steam-jack
eted tube are passed on to condensers
to remove most of the water and
Anally to a trap packed in a salt-ice
mixture. Here most of the volatile
flavors are condensed.
The juice is recirculated until the
desired concentration is reached. Ap
ple juice may be highly concentrated
by this method without going to sugar
or carmelizing.
Rural Fires Cosily.
J^URAL fires in recent years have
taken annually an average toll of
3,500 lives and piled up a property
loss estimated at $100,000,000, accord
ing to reports of the United States De
partment of Agriculture. However, no
ticeable reduction in losses has been
brought about in communities where
rural firemen have made a systematic
study of fire hazards and conducted
campaigns for fheir elimination.
-•
Kansas farmers are becoming air
minded. In less than a month four
farmers near Milan, Kans., purchased
three cabin planes for personal use.
They built their own flying field.
CHINESE JADE
Rings, necklaces, earrings
mounted with seed pearls.
ASIAN ARTS
1143 Conn. Ave. No. 4535