y, Lord! Thou wost wel I desire
Thy grace most of allB lustes leve,
And live and deye I wol in thy bileve:
For which I naxe in guerdon but oo bone,
That thou Criseyde ayein me sende sone.
"' Distreyne her herte as faste to retorne
As thou dost myn to longen her to see:
Than wot I wel that she nil not sojorne.
Now, blisful Lord, so cruel thou ne be
Unto the blood of Troye, I preye thee,
As Juno was unto the blood Thebane,
For which the folk of Thebes caughte hir bane!'"
Wordsworth.
"' O blissful God of Love !' then thus he cried,
'When I the process have in memory,
How thou hast wearied me on every side,
Men thence a book might make, a history;
What need to seek a conquest over me,
Since I am wholly at thy will? what joy
Hast thou thine own liege subjects to destroy?
■'' Dread Lord! so fearful when provoked, thine ire
Well hast thou wreaked on me by pain and grief;
Now mercy, Lord! thou know'st well I desire
Thy grace above all pleasures first and chief;
And live and die I will in thy belief;
For which I ask for guerdon but one boon,
That Cresida again thou send me soon.
"' Constrain her heart as quickly to return,
As thou dost mine with longing her to see,
Then know I well that she would not sojourn.
Now, blissful Lord, so cruel do not be
Unto the blood of Troy, I pray of thee,
As Juno was unto the Theban blood,
From whence to Thebes came griefs in multitude.'"
Tatlock-MacKaye.
"Then he thought, 'O blessed lord Cupid, when I
remember the history, how thou hast warred against
me on every side, men might make a book of it like a
tale. What need hast thou to seek a conquest on me,


438
[Dec. 1,
THE DIAL
since I am thine, wholly at thy will? What joy is it
to thee to destroy thine own folk? Lord, well hast
thou wreaked thine ire on me, mighty god, deadly to
offend! Show mercy now, O lord! Thou knowest well
I crave thy grace above all dear pleasures, and will live
and die in thy faith; in guerdon of which I ask but one
boon, that thou send me back Criseyde speedily. Let
her heart long to return as eagerly as mine to see her;
then I wot well she will not tarry. Blessed lord, I pray
thee be not so cruel to the blood of Troy as Juno was
to Theban blood, for which the folk of Thebes had their
destruction!'"
Wordsworth has here shown great skill in pre-
serving the original form; yet he has mistrans-
lated werreyed and has given a misleading turn
to the last line.
For a second illustration we choose the ac-
count of the stranger knight's entrance in " The
Squire's Tale":
"This strange knyght that cam thus sodeynly,
Al armed, save his heed, ful richely,
Saleweth kyng and queene, and lordes alle,
By ordre, as they seten in the halle,
With so heigh reverence and obeisaunce,
As wel in speche as in contenaunce,
That Gawayn, with his olde" curteisye,
Though he were comen ageyn out of fairye,
Ne koude hym not amende with a word;
And after this, biforn the heighe bord,
He with a manly voys seith his message
After the forme used in his langage,
Withouten vice of silable, or of lettre;
And for his tale sholde seme the bettre,
Accordant to his wordes was his cheere,
As techeth art of speche hem that it leere.
Al be it that I kan nat sowne his stile,
Ne kan not clymben over so heigh a style,
Yet seye I this, as to commune entente,
Thus much amounteth al that ever he mente,
If it so be that I have it in mynde . . ."
Leigh Hunt.
"The stranger, who appear'd a noble page,
High-bred, and of some twenty years of age,
Dismounted from his horse; and kneeling down,
Bow'd low before the face that wore the crown;
Then rose, and reverenc'd lady, lords and all,
In order as they sat within the hall,
With such observance, both in speech and air,
That certainly, had Kubla's self been there,
Or sage Confucius, with his courtesy,
Return'd to earth to show what men should be,
He could not have improv'd a single thing:
Then turning lastly to address the king,
Once more, but lightlier than at first, he bow'd,
And in a manly voice thus spoke aloud . . ."
Tatlock-MacKayk.
"This strange knight, who came so suddenly, all
armed full richly save his head, saluted king and queen,
and all the lords by order as they sat in the hall, with
such deep reverence and obeisance as well in speech as
in bearing, that though Gawain with his antique cour-
tesy were come again out of fairyland, he could not have
corrected this knight in a word. And then before the
high table he spake his message in a manly voice, after
the form used in his language, without fault in syllable
or letter; and, that so his story should seem the more
acceptable, his cheer accorded with his words, as the art
of speech teaches them that learn it. Albeit I cannot
follow his style, nor climb over so high a stile, yet to
the general understanding I say this, which was the
purport of all that ever he said, if so be I have it in
memory. . . ."
It will be observed that Hunt cut down the num-
ber of lines by one-third without any correspond-
ing gain in force or elegance. His substitution
of Kubla Khan and Confucius is inexplicable,
and would seem to be an unwarrantable liberty;
even if we assume that these men were patterns
of courtesy (and we know of no such tradition),
the fact remains that Chaucer does not mention
them and does mention the familiar Gawain.
Moreover, Hunt has introduced ideas not in the
original: the age of the Knight, his dismounting
from his horse, his bowing after he kneels, his
second bow to the King. Certainly it is of less
importance to adhere to the original form than
it is to render accurately the thought. Hence
the superiority of prose, in which the translator
can devote himself unreservedly to the thought.
This has evidently been the view of the present
translators. They hold that so many words and
idioms have undergone subtle changes in mean-
ing since Chaucer's time that the general reader
needs more than a bare text and glossary. They
believe that it is all-important to get at Chaucer's
thought. In accordance with this belief they
have tried to be as faithful to the original as
possible while avoiding four things: rhyme and
excessive rhythm (which we take to mean the
rhythm of verse), obscurity, extreme verbosity,
and excessive coarseness. The general verdict
of the critic must be that they have succeeded
admirably.
While the present translation is worthy of
high praise, some of the notes are disappoint-
ingly meagre. It means little to say that the
"Physiologus" was an early book "on the na-
tures of animals." An essential trait was that
they connected the characteristics and habits
of animals with the beliefs and observances of
Christianity. Under "Venus' hour''' it would
have been easy to add the particular hour (the
second before sunrise on Monday) presided over
by the goddess. The astrological terms should
also have been explained more fully. Under
"Roncesvalles," Tyrwhit's plausible conjecture
might well have been added.
For the class of readers who require illustra-
tions, Mr. Warwick Goble has embellished the
volume with over thirty full-page illustrations in


1912.]
439
THE
DIAL
color. In themselves, considered without refer-
ence to the text, they are excellent and include
much that is beautiful; they do not, however,
represent anything like our idea of Chaucerian
scenes, and we doubt if very many readers will
be found to whom their appeal is strong. For
some, these pictures will be a hindrance rather
than a help to the imagination. The picture of
Emily, for example, has a beautiful setting; but
the features of the girl as here drawn are hardly
such as to cause all the trouble set forth in "The
Knight's Tale." The reproduction of Blake's
picture in outline on the end-leaves is effective.
The make-up of the volume leaves nothing
to be desired. The paper is excellent, the page
of good proportions, and the type clear. The
binding, which is in keeping with other features
of this handsome volume, helps to make it one
of the most desirable gift-books of the season.
Clark S. Northup.
An Album from Greek and Roman
Days.*
Apart from mankind's innate interest in any
face as an expression of human nature, we may
say that portraits from ancient Greece and
Borne appeal primarily to the student of history
and the lover of plastic art. For the former,
they frequently preserve the actual lineaments
of a man or woman depicted with almost photo-
graphic accuracy, or transmit a character study
carved in the spirit of a modern portrait painter.
For the latter, they often provide beautiful ob-
jects of aesthetic charm, and more often repre-
sent instructive links in the development of
style and treatment. The famous portraits of
Pericles, for instance, reveal to us something of
the statesman, the general, and the cultured
humanist; but they also offer a goodly pleasure
to the eye, and at the same time tell us that the
sculptor loved the beautiful as deeply as the
characteristic, and show us how far he was
master of his chisel and marble.
As to the essential merit of a portrait, we
are all ostentatiously agreed that it is " truth to
life." But beneath these shortest and simplest
of words are rooted quarrels that seem to be as
old as the pyramids. The observing visitor at
the perfectly arranged Egyptian Museum in
Cairo will find realism and conventionalism
facing each other at least as early as the Old
Kingdom, say three thousand years before
Christ; and that, too, in representations of the
* Oheek and Roman Portraits. By Dr. Anton Hekler.
Illustrated. New York: G. P. Putnam's Sons.
same man in the same tomb. Of course, the
purpose of the statue has to be considered in
these cases; but the elements of the debate are
there, and we have no doubt that the contro-
versy dates back to the first moment in the his-
tory of man that saw two sculptors capable of
choosing and of executing their choice.
In Greek portraiture, our best authorities
have felt that the tendency toward an idealiz-
ing representation was the stronger. In addi-
tion to the monuments, they adduce to the
much-quoted authority of Aristotle, who says
that good portrait painters, while reproducing
"the distinctive form of the original, make a
picture which is like the subject and yet more
beautiful." But we may point out that it is
easy to carry this belief too far, and that not a
few artists must have followed the practice of
giving feature for feature and line for line
with relentless realism. Demetrius, the much-
discussed exponent of this style at the close of
the fifth century, did not shrink from represent-
ing a distinguished Corinthian general in most
uncompromising detail, "with a protuberant
paunch, a ragged wind-tossed beard, and a bald
head"; and be can hardly have stood alone
even in that age. In later Greece, certainly,
there was no lack of realism. Pliny tells us,
for instance, that Lysistratus "looked upon,
likeness in every detail as the chief aim of por-
traiture, and that he went so far as to use plas-
ter casts to transfer actual forms to his work."
And the question is even more keenly debated
to-day. Realism, conventionalism, idealism, im-
pressionism, and illusionism, not to mention
futurism or a dozen other extravagances, have
become so rampant that there is some truth in
Oscar Wilde's paradox that a portrait tells us
absolutely nothing about the sitter and a great
deal about the maker. Naturally, we should be
grateful if Rossetti's prayer could be realized
and a woman's portrait might show us " beyond
the light that the sweet glances throw, and re-
fluent wave of the sweet smile, the very sky and
sea-line of her soul." But to very few painters
or sculptors has such skill been vouchsafed, nor
can many spectators catch even the vision that
the work of the cunning craftsman legitimately
embodies. So most of us declare with a sigh
or a smile that we have two ordinary eyes and
something within us that feels pleasure or dis-
pleasure, satisfaction or dissatisfaction; and the
average amateur, if he reaches any decision as
to what makes the difference in a portrait, gen-
erally does not become more definite than Sir
Joshua Reynolds, who concludes that the like-


440
[Dec. 1,
THE
DIAL
ness, as well as the grace, of a portrait "con-
sists more in preserving the general effect of the
countenance than in the most minute finishing
of the features, or of any particular parts."
At this point we may briefly describe the
offering presented by Dr. Anton Hekler to
readers or workers who are interested in such.
topics as those suggested above. His volume
is a generous quarto, containing three hundred
and eleven plates of illustrative Greek and
Roman portraits from the fifth century B.C.
to the fourth century a. d. In connection with
these the author gives us forty pages of com-
•raent. He has also prepared a serviceable
bibliography, and an excellent table of illus-
trations, which gives the home of each portrait
and often refers to some treatise in which the
statue is discussed. If we add that his ex-
amples are well chosen, we shall probably con-
vey our belief that the album offers convenient
as well as extensive material for an approach
to the study of Greek and Roman portraits.
From such a wealth of material we must
make an arbitrary choice, and if we first point
out that Dr. Hekler deals with his general
theme historically, we may content ourselves
with instancing his treatment of Socrates. As
it happens, this offers an enlightening glimpse
at our author's method, while the subject is one
of perennial interest. Who will ever forget the
description of this homeliest of high thinkers
given by Alcibiades, gloriously drunk, in the
Symposium of Plato? "I say he is exactly like
the figures of Silenus, which may be seen sit-
ting in the statuaries' shops, having pipes and
flutes in their mouths; and they are made to
open in the middle, and there are images of gods
inside them." Here then was a dainty task
for the worker in marble: to show the satyr
mask and the god within. Such at least was
the task, if, as Socrates himself had demanded,
the sculptor was to express the activity of the
soul in his forms. As a basis for his comment
Dr. Hekler gives us the Naples bust, the small
bronze at Munich, the head in the National
Museum at Rome, and two views of the term
in the Villa Albani. After pointing out how
natural it was that the interesting artistic and
physiognomical problem of the head of Socrates
should have occupied Greek sculpture for sev-
eral centuries, he proceeds:
"No less than three types have come down to us, which
also represent three different stages of art-development.
The first type, hest represented by the Naples bust (PI.
19) and the small bronze at Munich (111. 2) is a sober,
naturalistic portrait of the lifth century which renders
admirably the most striking elements of the outward
man and is content to forego the deeper, more intense
vitality of the spirit. The face here has a certain coarse,
boorish cast. The treatment of the beard recalls that
of the head of Homer in the Vatican. In the course of
the fourth century the prosaic naturalism of this head
was transmuted by the hand of a great artist iuto lofty
significance. In this second portrait-type (PI. 20) the
ugly forms acquire an unsuspected wealth of expressive
power; the spectator feels himself to be in the presence
of a highly gifted, gentle, and benevolent being, wiiose
intelligent eyes and large mouth with its parted lips sug-
gest an agreeable loquacity. We would fain ascribe this
masterly creation to the genius of Lysippos; literature
credits him with the execution of a statue of Sokrates;
and our example is stylistically akin to his works. The
treatment of the beard and hair is a strong point iu
support of the hypothesis. Later, the Silenus-head of
Sokrates underwent a final free transformation bearing
all the accents of the Hellenistic period. It is repre-
sented by a head in the Villa Albani (PI. 21). Here the
artist, careless of likeness, was concerned above all to ren-
der his conception of the daemonic energy and enthusi-
astic fervour of the martyred philosopher, with all the
realistic resources of a fully matured art. This tendency
removes the Albani head from the domain of reality into
that of ideal portraiture."
Herewith we are plunged into the centre of a
central problem. Granted a trained observer,
skilled in physiognomy and versed in the condi-
tions of plastic representation, how much can he
confidently and reliably tell us about the inten-
tions of the sculptor and the characteristics of
the subject revealed by the statue. Now any
man who has worked under a master like Peter-
sen will admit that the possibilities are large;
but there have been many startling contradic-
tions and still more startling reversals of opinion
among the experts, and, when all concessions are
made, the margin of error is so appallingly wide
that the most modest of reviewers may be par-
doned for differing rather frequently from the
conclusions of an author. Dr. Hekler has been
laudably conservative in assigning names to
doubtful portraits; but in dealing with the char-
acteristics conveyed by a portrait, and with the
intentions of the sculptor, he often exhibits a
comprehensiveness and finality that can hardly
be justified in the present status of our knowl-
edge. However, he was barred from any ade-
quate balancing of probabilities for his readers
by his goodly array of reproductions, if his work
was to be compassed in one volume; and he
would probably be the first to admit the possi-
bility of legitimate differences of opinion.
In passing to the Roman section of our trea-
tise we find ourselves debating an old question.
More than a quarter of a century ago, in a bril-
liant and most readable contribution, " Vernon
Lee " declared that Roman portraiture had in-
troduced something new and wonderful into
sculpture. In this contention she has been en-


1912.]
441
THE
DIAL
thusiastieally supported by Mrs. Strong; but
despite the hopeful studies of such workers as
the latter and Professor Wickhoff, who repre-
sent the extreme in the advocacy of Roman inno-
vation, there is still more than a little cloud of
doubt about the "new and wonderful " element
as manifested in portraiture. Detailed modifi-
cations of treatment there assuredly were; but
further than that it is difficult to go without a
faltering hesitancy. Dr. Hekler, too, feels that
there is an essential difference between the two
groups represented by Hellenistic and Roman
portrait sculpture, and gropes for the specifi-
cally Roman element in this later art. However,
he insists that "there is no breach of continuity,
but a perfectly organic development"; and, if
we understand him aright, he explains the differ-
■ence rather by the Roman national physiognomy
and character than by essential modification of
the means employed in achieving artistic effects.
At any rate, Roman portraits are just as inter-
esting as Miss Paget declared them to be in
44 Euphorion": 44 Of this Roman portrait art, of
certain heads of half-idiotic little Caesar brats, of
sly and wrinkled old men, things which ought
to be so ugly and yet are so beautiful, we say,
at least, perhaps unformulated, we think,4 How
Renaissance.'"
And it is desperately hard to refrain from
considering some of the portraits in this section
of Dr. Hekler's volume. The history of the
Roman Empire seems to stand before one in a
sort of personification. Thirteen portraits of
Augustus, from boyhood to old age, suggest the
days of transition from Republic to Principate.
The Claudian degenerates recall the wild trag-
edy of the Caesars, even if we cannot quite agree
that 44 they reveal more of the dark atmosphere
of those days of cruelty and terror than the
most circumstantial accounts of historians."
And so we might trace the story through the
days of national decline to the ruler who cham-
pioned the religion of the despised Nazarene.
But fully as interesting to the student of human
nature, and more interesting to the lover of art,
are the private persons, named or nameless.
From the Pompeiian banker, with his keen
American face, to the two boys, who are so alike
and yet so unlike, the reader, or, as one might
better say, the spectator, may observe a range
of masculine faces that constantly challenge his
human interest or critical acumen. Nor will he
find less attraction in the representatives of the
other sex, from Julia, with her architectonic coif-
fure, to the lady with softly waving hair who
suggests a well-known English writer. And he
who loves a contrast is invited to turn from the
austerity of Livia as an elderly woman to the
girlish grace of the so-called Minatia Polla, be-
loved of every visitor to the Museo delle Terme.
But the lure of this collection and of memories
from the days when we first lingered in Roman
galleries is tempting our pen far beyond all
permissible bounds, so we must simply add, what
is already obvious, that to us the volume seems
both valuable and enjoyable.
It is difficult to turn from such thoughts to
unfavorable criticism of details; but a few points
require notice. For instance, might we not have
had just a word on Egyptian portrait sculpture?
Some examples are truly remarkable, and despite
the independence of Greek artistic development,
it is inconceivable that it was not touched by some
tiny breath of influence from the valley of the
Nile. Again, is it absolutely sure that artistic
activity always begins with abstractions, and that
the first essays in the portrayal of human beings
are consequently rather abstractions than imita-
tions? On the contrary, is there not considerable
evidence, as well as the evolutionary probability,
that individual men and particular animals were
among the earliest subjects of nascent depic-
tion? In lamenting our loss from the perish-
ing of painted figures and faces, Dr. Hekler
mentions as our only relics of importance the
mummy portraits of Egypt; but the stelae dis-
covered a few years ago at Pegasse are certainly
not without value. And, finally, when the work
was being made ready for English-speaking read-
ers, why were the most common Greek names
not given in their ordinary form? One really
feels ill at ease in the presence of Aristoteles
and Epikuroa when one has known them so long
and so familiarly as Aristotle and Epicurus.
However, these minor points and a few more like
them, even if they worry a reviewer, are negli-
gible in comparison with the general services of
the volume.
The type is clear, the reproductions satisfac-
tory, the binding very simple, and the price as
low as the nature of such a publication would
reasonably admit. Fred r r> Hellems.
Mr. Clifton Johnson and Mr. W. D. Howells seem
to think that Artemus Ward is in need of resuscitation,
for they have just become sponsors for a volume entitled
"Artemus Ward's Best Stories " (Harper), which should
certainly appeal to a generation which we fear knows
not this humorist, one of the raciest we have yet pro-
duced. Not the least readable of the contents is the
sympathetic introduction with which Mr. Howells has
supplied the volume. A number of illustrations are
provided by Mr. Frank A. Nankivell.


442
[Dec. 1,
THE
DIAL
A Disciple of Pater.*
It is ten years since Lionel Johnson died,
and according to the happy phrase chosen as
the title of his volume of critical studies, he
now returns to cross again his own threshold
and to receive for a little the greetings of his
friends. The clamor of those years has drowned
voices far louder than his, but his friends have
not forgotten him. As a poet, he is in the
strictest sense a minor poet, a seeker of effects
exquisitely refined; and in his prose, too, it is
upon the delicacies of emotion and thought that
he loves to dwell, and upon the felicities of
phrase that will alone express them. These are,
of course, qualities that do not compel a hearing
from the crowd; and even for those whom Pater
calls " disinterested lovers of books," they seem
nowadays to have lost their appeal. One won-
ders sometimes if it is not the neglect of the
Greek and Latin classics, the loss from our
training of that attention to detail which an
appreciation of the classical literatures perpetu-
ally demands, that is responsible for the prev-
alent taste, even among persons who read, for
the broad, the slapdash, and the bizarre. Well,
such persons will not care for Lionel Johnson,
nor for his master, Walter Pater, for the style
of both calls for a somewhat more discriminat-
ing literary palate than it is the fashion nowa-
days to cultivate. Nevertheless, there will no
doubt always be some persons, not very numer-
ous nor much given to voicing their opinions in
the market place, who take a quiet satisfaction
in such writing as this, and who feel a kind of
friendship for the author of it. 44 In an age of
extraordinary vehemence," writes Johnson of
Erasmus,44 his delicacy, his subtlety were bound
to be ineffective." The writer of these words
would probably not be surprised to find himself
little read; yet inasmuch as the Erasmian
method and the Erasmian temper, in spite of
their manifest defects, have had in every age
their warm admirers, so he may count for many
years to come upon a small and perhaps an in-
creasing circle of appreciative friends.
Appreciative and admiring, but not uncriti-
cal. They will find in this volume, for instance,
more than a touch of sheer preciosity, a naive
parade of learning and allusiveness, and, once
at least, a defect of taste, curiously unexpected
in these careful pages. "The later sweeter es-
sayist, Charles Lamb," he writes in the paper
on Bacon, 44 was called by Thackeray 'Saint
* Post Liminium. Essays and Critical Papers. By Lionel
Johnson. Edited by Thomas Whitteraore. New York:
Mitchell Kennerley.
Charles'; no one could call the cold, corrupt
Lord Chancellor4 Saint Francis.'" No one, in-
deed, we agree with a shudder; but why go so
obviously out of one's way to produce so poor a
pleasantry? These are plainly faults of imma-
turity — not, to be sure, of immaturity of years,
for he was thirty-five when he died, but of that
sort of immaturity which is the differentia of
the minor gift, whether in poetry or prose. We
have called Pater his master, but in his evident
consciousness of his verbal successes he does not
remind us of the elder and the greater man. For
Pater illustrates his own dictum that 14 beauty
is only fineness of truth." One feels that he is
absorbed in the adequate expression of his diffi-
cult and involved thought, while his pupil not
seldom appears to be turning his fine phrases
for their own sake. This is only to say that
his writing is not of the first, or even of the
second order; but at its best, its charm is that
of the dawn of an exceedingly sensitive and
subtle talent for criticism and of a rare gift of
expression.
He has another mark of the minor prosaist,
a chameleon-like quality that causes his style to
vary, within certain limits, its cadence and color
with the work upon which he is engaged. If he
is writing of Pater, he writes like Pater; if on a
subject that would have appealed to Lamb, like
Lamb. Or, perhaps it would be more correct to
say that when he writes of men whose nature is
akin to his, he abandons himself to his genius
and instinctively praises them in their own vein.
To Arnold and Newman he is not akin, and
though he writes of them, he does not write in
the least like them; but the paper on Stevenson
is not unlike Stevenson, "The Work of Mr.
Pater " is such a piece of criticism as Pater him-
self in his youth might have signed, and while
there is no essay on Lamb, there is an essay on
a subject that Lamb might have chosen, treated
in the manner in which Lamb would have treated
it. In the paper on Octavius Pulleyn, an obscure
seventeenth century poet,— a poet, indeed, of
but one extant poem,— we hear what seems the
very voice of Elia:
"Nomina umbra, he is a ghost, of whom I know
nothing; whilst his little bird, the least of birds, lives
merry and musical yet. Octavius and his like, phantom
gentlemen in the ' haunted thicket' of old years, have a
singular fine charm. Until some plaguey investigator
of libraries, of Rolls and Record Offices, unearth my
twilight friend, he is mine to dream over, mine to play
with. I can enter him a student at the Inns of Court;
make him a tavern wit or playhouse censor; I can turn
him into a country squire, and give him a comely manor
in the taste of Inigo. We stroll there together through
the 'Italianate garden,' with its stalua and bwsto, and


1912.]
443
THE DIAL
pass out into a green coppice. It shall be the old May
morning of merry England, May of clear sunlight and
soft wind; Octavius shall quote me his Horace, and I
cap him with my dearer Virgil. An air of the scholar's
affectation sits prettily upon us, an Oxford touch. We
would fain esteem ourselves Younger Plinies of the
time, and a neat copy of verses is our pride. Octavius
has a decent fair knack at imitation of the great Mr.
Cowley, and ever a gratulatory ode at a friend's service.
So go we gently through the May morning of a dream;
of winter nights, we 'drink tobacco' by the fire of logs
in a parlour of black panel, and pore together upon the
medals of popes and emperors. Of such sort is my
Octavius; and if I weary of him in such sort, he shall
proceed ambassador to tlie Hague, and send me word
of tulips."
In the short paper, too, entitled "An Old
Debate," the debate, to wit, over the compara-
tive charms of town and country, he is, like
Lamb, all on the side of the town, and praises
London with a warmth caught from "A
Londoner":
"After all, other people are very companionable.
Cssar held in mistrust the lean, who think too much;
others have misliked the haters of children, of music,
and of bread; for ourselves, we will be friends with no
mau who goes down the Strand with an Odi profanum
on his lips."
His fondness for Lamb is one of many tastes
that he shares with Pater, for nowhere has Pater
written with a more penetrating sympathy and
a more quiet perfection of style than in the
essay on Lamb.
Indeed, as we have already intimated, this
volume is full of echoes and suggestions of
Pater. The four papers that open it treat of
Pater's humor, his views of Plato, and his work
as a whole, in the tone of a confessed admirer
and disciple. Not, however, of an undiscrim-
inating admirer. More than once he takes pains
to admit that two opinions may be held of Pater's
place in criticism. It is as if he felt the neces-
sity of guarding himself against the charge of
a too uncritical discipleship. There are pages
of Pater in which "we seem to take less than
our customary pleasure." It is possible to differ
with him in his views of Plato, of Botticelli, of
the Renaissance. "A discreet judgment" dare
not class him with the greatest. Yet these, we
feel, are concessions forced from him by the
knowledge that without them his praise would
seem too unmeasured. There is a sentence at
the close of " The Work of Mr. Pater" which
tells the story: "There is yet deeper sorrow,
upon which I cannot touch, save to say that to
younger men concerned with any of the arts, he
was the most generous and gracious of helpful
friends." Certainly Pater has never been praised
so justly, so finely, so entirely in his own man-
ner, as in these pages. It will be remembered,
too, that one of Lionel Johnson's most exquisite
poems and one of the most successful brief thren-
odies in our language was dedicated by him to
the memory of his master.
His debt to Pater is felt not only in such
formal tributes as these, but upon almost every
page of the volume. The names dear to Pater
recur again and again,— Lamb, Montaigne, Sir
Thomas Browne, Pascal, St. Francis of Assisi.
Every now and then one comes upon echoes of
Pater's own language, as in the affectionate
repetition of the delightful word " umbratile,"
familiar to lovers of "Marius." The style in
general is thoroughly Paterian. There is the
same delicate precision of phrase, the same
repudiation of the superficial, the obvious, the
approximate, the same unremitting effort to
pluck out the heart of some subtle personality
and enshrine it in an epithet. And the re-
semblance goes deeper than style. The mind
of the disciple was evidently profoundly akin
to the mind of the master. We may say of him
what he says of Pater: "Things hieratic, ascetic
appealed always to him." For this reason, the
papers on Pascal, Thomas a Kempis, Patmore,
Henry Vaughan, " The Soul of Sacred Poetry,"
are among the best in the volume. For this
reason, too, we meet everywhere allusions to
Newman. His characteristic phrases are quoted,
and his authority is invoked as if a mere refer-
ence to him were sufficient to settle any moral
or spiritual question. "To the present writer,"
we read, "the thirty-six volumes of Newman,
from the most splendid and familiar passages
down to their slightest and most occasional note,
are better known than anything else in any lit-
erature and language."
There is one notable particular, however, in
which he forsakes the example of his master.
One of Pater's most characteristic and admirable
critical habits was his refusal to speak severely
of anyone. In the whole range of his writings,
there is not a line of harsh criticism. He writes
only of those whom he can praise, justly believ-
ing that for a subtle and penetrating genius like
his, there is an ample field for action in the true,
the beautiful, and the good. But inferior talents
may be more inclusive, and it is refreshing to find
that Johnson can wield on proper occasions —
and to our taste his occasions are all proper—a
trenchant pen. Even his strictures on Byron
seem to us not too severe, and his plain speaking
on the Bashkirtseff we find peculiarly timely in
the light of a new, and we think quite unneces-
sary, volume of her letters and journals. "A dis


444
[Dec. 1,
THE DIAJL
eased and silly soul," he calls her, and the letters
"are the letters of an hysterical lady's-maid."
We do not forget that Lionel Johnson, as a
poet, is a prominent figure in the Gaelic revival,
and it would not be proper to pass over without
mention the papers in this volume that deal with
the movement. They are not, however, among
the most valuable of these studies, and, indeed,
Johnson's interests and inspirations were too
wide and his powers, both as critic and as poet,
too great to permit him to be confined within
the limits of any movement, however admirable.
In fact, the paper entitled " Poetry and Patriot-
ism in Ireland" seems to be, in part, his own
apology, written in reply to those who thought
the harp of Tara the only suitable instrument
for a poet who was really devoted to the Irish
cause. He makes the plea that Ireland is truly
honored by all her distinguished sons, even
though their muse be not strictly "patriotic."
"There seems to be no place for a poet," he
writes, "who, though he be intensely national
in temperament and sympathy, may be unfitted
by nature to write poetry with an obvious and
immediate bearing upon the national cause";
and he urges that Irish literature be encouraged
and developed " in a finely national, not in a
pettily provincial, spirit."
We end as we began. These essays are for
the few, not for the many. The author of them,
like his own Octavius Pulleyne, did not seek
"to fill the irritated air with agitated echoes";
but like that " umbratile, quiet man," he would
be heartily content with "a miniature immor-
tality," a fame far short of the highest, and a
circle of friends intimate, affectionate, and
secure. Charles H. A. Wager.
Aspects of South America.*
Travel is still for us the perfect epitome of
life; and when the narrative of travel is com-
bined with the most searching observations on
the character and development of the peoples
visited, the result is, for the reader, a complete
transplantation into another world. This is
•South America. Observations and Impressions. By
James Bryce. With maps. New York: The Macmillan Co.
The Flowino Road. Adventures on the Great Rivers
of South America. By Caspar Whitney. Illustrated. Phila-
delphia: J. B. Lippincott Co.
The Path ok the Conquihtadorer. Trinidad and Ven-
ezuelan Guiana. By Lindon Bates, Jr. Illustrated. Boston:
Houghton Mifflin Co.
Throdoh Sooth America. By Harry W. Van Dyke.
With Introduction by John Barrett. Illustrated. New York:
Thomas Y. Crowell Co.
what Mr. Bryce invariably achieves, no matter
what his theme or what the path of approach.
He enters the remote periods of the Holy Roman
Empire with the same fresh enthusiasm as that
with which he examines our own contemporary
institutions; he throws himself wholeheartedly
into sympathy with the difficult past as well as
with the changing present; he prophesies to dry
bones and makes them live again. Perhaps no
other critic, certainly no other foreigner,
"hath walked along our roads with step
So active, so inquiring eye, or tongue
So varied in discourse."
If this is true of North America, which he knows
so well, how infinitely more so of the Southern
republics, to which he has made but one visit.
But what a fruitful visit it was! Such an inquir-
ing eye is his that it has searched out in a few
months everything worth seeing, penetrated the
inmost recesses of thought, and glimpsed things
which we never dreamed were there.
It is usual for writers on South America —
not always of judicial temperament — to range
themselves definitely on the side either of the
optimists or of the pessimists. Mr. Bryce does
neither, for he writes with a detachment born
of the trained mind accustomed to tracing na-
tional evolutions from their historical past to
their immediate present. Indeed, the first sign
that a new land is approaching maturity is when
that land begins to have leisure, or when others
think it profitable to cast a look backwards and
realize the lesson of its past. What a past it has
been for South America,— what a varied tale
is unfolded! Not the least interesting part of
Mr. Bryce's volume deals with historical evolu-
tion, and his treatment is as judicial and impar-
tial as it is logical and discriminating. If we
may venture a criticism so early in our notice,
however, it would deal with his bias against the
Spanish colonial system—a bias which might
almost be termed injustice; for there is no doubt
in the mind of the present reviewer that, how-
ever unfortunately it worked out, the system
itself was fundamentally sound, and that if it
had only allowed for more — or even any —self-
government the whole course of future events
might have been altered. The only other point
of possible objection deals also with presumable
injustice. Mr. Bryce says:
"Those who quote the age of Queen Victoria and
the age of Lewis [sic] the Fourteenth as instances to
support the doctrine that eras of successful war and
growing power herald, or coincide with, an epoch
of literary creation, may expect to find that the inces-
sant strife which has kept hot the blood of the citizens
of some republics, and the rapid material progress


1912.]
445
THE
DIAL.
of others, promise an era of intellectual production in
South America, Of this, however, there has been no
sign. National spirit seems little disposed to flow in this
channel. In the southern republics there is plenty of
energy, but not much of it is directed towards art or
science or letters."
Such a judgment may be true enough in com-
parison with nearly any European country, but
to those who have been impressed with the art of
the Peruvian painter Bacaflor, or of the Chilean
artist Sotomayor; to those who are familiar with
the verse and fiction, in which perhaps Colombia
and Brazil excel (and there are many who first
came to realize the importance of Latin America
as a literary power through the polished work of
the late Brazilian ambassador, Senhor Nabuco);
to those who recognize the value of the treatises
on international law by the internationally known
Argentine authority on the subject, Dr. Drago
—to all such Mr. Bryce's statement would seem
to demand modification.
But as a rule the author's criticisms—and
they are few considering his opportunities to
make them — are constructive, free alike from
scorn and condescension. Perhaps the most
important contribution of the present volume is
its help toward a better understanding, largely
fostered by the author's generous and sympa-
thetic point of view. This is the spirit, for in-
stance (though his favorite country seems to be
Chile) in which he describes Brazil. "Not
even the great North American republic has a
territory at once so vast and so productive,"—
a territory which, if in the hands of the Anglo-
Saxon race, would in thirty years have fifty
millions of inhabitants. But to Mr. Bryce
"second or third thoughts suggest a doubt
whether such a consummation is really in the
interest of the world. May not territories be
developed too quickly? Might it not have been
better for the United States if their growth had
been slower, if their public lands had not been
so hastily disposed of, if in their eagerness to ob-
tain the labour they needed they had not drawn
in a multitude of ignorant immigrants from Cen-
tral and Southern Europe?" British ownership,
however, does not necessarily mean prosperity or
development—even when the natural resources
are not lacking. Bordering Brazil there is the
colony of British Guiana, with territory as large
as Great Britain, the possessor of boundless re-
sources. "For nearly a century it has formed
part of the British empire, yet its population is
less than four souls to the square mile." But
surely Mr. Bryce's observation as to our own
development is just, and it cannot do us harm
fully to realize the logic of it.
Such considerations as these, around which
an infinite text and argument might be woven,
form the basis for the latter half of the volume.
Eleven of the sixteen chapters contain a simple
narration, interspersed with glowing appreciation
of the grandeurs of nature, of what Mr. Bryce
saw both of the country and its inhabitants. In-
the remaining chapters, as might have been ex-
pected, the distinguished author draws liberally
on his knowledge of history to give more point
to his views. Not even Mr. Bryce deems him-
self qualified to give us general reflections on-
the future of these republics as a body, for they
are too diversified to be treated collectively.
But he does venture individual conclusions which-
are worthy of the most attentive consideration T
and he so far avoids undue optimism as to con-
tent himself with saying: "The troubles of these
ninety years have, accordingly, nothing in them-
that need dishearten either any friend of Span-
ish America or any friend of constitutional
freedom."
If we stopped here we should give a very im-
perfect impression of Mr. Bryce's volume; but no
review can do full justice to a work which must
immediately be regarded as the last word on the
subject, — to us of the North a necessary com-
plement to "The American Commonwealth."
One or two errors should be corrected in the
next edition. Perhaps the most flagrant of
these proclaims that "the area of Brazil is about
3,300,000 square miles larger than that of the
United States"! Dom Pedro is throughout
called "Don." An excellent index and some
good maps complete a handsome volume.
All books of foreign travel are divided into-
two classes — those which are meant to be reaeV
and enjoyed at home, and those which are to-
be packed in a bag and consulted, something
after the manner of a guidebook,, en the spot-
If Mr. Bryce's volume is one of the few which
belong to both classes, two other recent works-
of South American travel, not less interesting
in their way but in a vastly more confined ex-
tent, must be placed in the second- Mr. Caspar
Whitney's "The Flowing Road " derives its-
title from the nature of his travel,—he tells of
five separate overland and river expeditions into-
the heart of South America, all of which were
largely undertaken by canoe and on streams
more or less connected. Mr. Whitney's success-
ful attempt to reach the unknown land at the
head of the Orinoco River, through the un-
friendly Indians and almost impassable natural1
barriers, when all save one native companion,
had fled, presents the other side of South Amer-


446
[Dec. 1
THE
DIAL
ican travel in a most engaging and romantic
way. Mr. Bryce did not reach this part of the
continent, and if he had he would no doubt have
been lavishly entertained by the Colombian and
Venezuelan governments. All the official pro-
vision that Mr. Whitney sought was help in
procuring trustworthy guides,—help not partic-
ularly efficacious.
It is curious that more or less the same region
traversed by Mr. Whitney,— that of the lower
Orinoco, — is described in the volume by Mr.
Lindon Bates, Jr., entitled "The Path of the
Conquistadores." The trail of these picturesque
old conquerors Mr. Bates followed in an expedi-
tion which started from Trinidad, proceeded up
the Orinoco to Angostura, and thence on mule-
back into the interior of Venezuela near the sur-
mised location of the legendary Golden City of
Manoa, in the search for which so many adven-
turers have given their lives. This volume is
slighter in substance than in form, due to very
large print and to the many and usually excel-
lent illustrations. The text, however, forms an
interesting mixture of fact and gossip about what
is no doubt the least known and esteemed portion
of the continent.
One of the more conventional books of South
American travel is Mr. H. W. Van Dyke's
"Through South America." It is introduced
with a preface, by Mr. John Barrett, which
rather "writes down" to the reader in such a
way as to imply that both book and preface are
intended as an elementary course for those who
know little of South American history, institu-
tions, or nature. If such be the case, the volume
has fulfilled its intention; nowadays, how-
ever, with the ever-increasing flood of Latin-
Americana, there seems little need for a further
essay in a field which for the last ten years has
been covered to satiety. But the present work,
having much to commend it besides its admir-
able form and illustrations, should not be dis-
missed so superficially. The author has a happy
way of expressing himself, and conveys his en-
thusiasms so naively as to make us instinctively
share them — if we do not read too carefully.
Though he by no means catches the spirit of
such a book as Mr. Arthur Ruhl's "The Other
Americans," or imparts the thrill of new dis-
coveries conveyed in Mr. Bingham's "Across
South America " (which latter title, by the way,
is a serious omission in Mr. Van Dyke's bibliog-
raphy), he does succeed in bringing home to us
a pleasantly agreeable picture of life and nature
in South America.
Julian Park.
Holiday Publications.
I.
Books of Travel and Description.
A few of New England's many famous and
historically interesting summer resorts are treated
with the knowledge and sympathy of long acquaint-
ance by Mr. F. Lauriston Bullard in his "His-
toric Summer Haunts from Newport to Portland"
(Little, Brown & Co.), which Mr. Louis H. Ruyl has
adorned with thirty-two admirable drawings, printed
on a tinted background. The haunts are all on
or near the coast,—-Newport, Plymouth, Quincy,
Lexington, Concord, Sudbury (included for its
Wayside Inn), Marblehead, Gloucester, Salem,
Haverhill and Amesbury (the "Whittier"country"),
Newburyport, Portsmouth, and Portland. From
the abundance of history and tradition, literature
and legend, touching these fine old towns, Mr.
Bullard has taken with a free hand, yet not with-
out discrimination, for the enrichment of his book,
while his own running commentary is packed with
welcome explanation and suggestion and allusion.
Writing of Salem, for example, he reminds us that
"Hawthorne was not an admirer of Salem, but in
Salem he lived, almost as a recluse, for years."
And he wrote much about the old seaport, about its
custom-house, its town pump, its now famous seven-
gabled house, its "Main Street" (which is now
Essex Street), and its romantic history. As the
author points out, "Salem has no less than eight
Hawthorne houses: the house of his birth, the
house of his youth, the house of his courtship, the
house in which James T. Fields persuaded him to
surrender the manuscript of 'The Scarlet Letter,'
these and the House of the Seven Gables, the
custom-house, and two other houses in which the
writer lived, account for some twenty-five years of
his life." At Portsmouth the Aldrich house, now
the Thomas Bailey Aldrich Memorial Museum, will
be to many the chief object of interest. The book
is of most inviting appearance, its rich binding
displaying the Wayside Inn, stamped in gilt on the
front cover.
That ancient bit of advice, If you wish to learn
a subject thoroughly write a book about it, seems
to have been followed faithfully by Mr. Philip San-
ford Marden, who, when he was reading up for a
visit to Egypt, failed to find just the kind of book
he required for his enlightenment; and so, on his
return from the Nile country, he has himself filled
the gap and written the compactly informing and
at the same time readable and enjoyable book that
his own need had shown to be lacking. At any rate,
this seems to have been the genesis of his "Egyptian
Days" (Houghton), a volume similar in character
and scope to his "Travels in Spain," which met
with a kindly reception three years ago. What the
intelligent tourist most wishes and needs to know,
to make his Egyptian travels enjoyable and fruitful,
is what Mr. Marden has tried to furnish in his six-


1912.] THE DIAL 447
teen scholarly chapters, which are evenly divided
between lower Egypt and the regions further up the
Nile. The illustrations, forty-three in number, are
mostly from photographs taken by the author, and
the map at the end of the book is from his hand.
A typical Egyptian scene in bright colors adorns
the front cover. The volume is a fine piece of work
in all respects — a suitable gift to the intending
winter tourist or sojourner on the Nile.
One who can find such charm and fresh delight in
a solitary canal-boat journey through rural England
as Mr. E. Temple Thurston has found in his month's
meanderings on board the "Flower of Gloster," and
who can so well transfer his daily experiences and
impressions to the printed page, ought not to seek
in vain for readers. "The 'Flower of Gloster'"
(Dodd), named from the newly and gaudily painted
barge which he secured for his rather unusual form
of outing, is written in much the same light-hearted,
high-spirited vein as Stevenson's "Inland Voyage."
"I would not for a kingdom," says Mr. Thurston,
"have missed those few weeks in the heart of En-
gland, far distant from any of those main thorough-
fares where the dust of motors powders the face of
Nature till she is worse than some painted thing.
Scarce a soul is to be met along those winding tow-
paths, for you may be sure that where a canal runs
from one town to another, that is the longest way it
is possible to go." From Oxford to Inglesham, by
these devious windings, the "Flower of Gloster"
made her leisurely way, towed by faithful Fanny,
while Fanny in turn was driven by Eynsham Harry
—at thirty shillings a week and "found," though he
would have gladly accepted considerably less. The
copious illustrations of the book include six colored
plates and are all from the deft hand of Mr. W. R.
Dakin. That so much of interior England and Wales
is accessible by canal-boat will be a surprise to most
readers. The remorseless railway, with its short cuts
and its saving of invaluable time, has put the inland
waterways very much into the class of "back num-
bers," so that Mr. Thurston's voyage strikes one as
decidedly novel and interesting and worthy of imi-
tation.
Something distinctly out of the ordinary in Euro-
pean travel literature is presented by Mr. George
Wharton Edwards in his "Marken and Its People"
(Moffat), which is described on the title-page as
"some account written from time to time both during
and after visits covering some considerable space of
time upon this most curious and comparatively un-
known island—unknown in spite of the fact that
thousands of tourists visit it each year, but of the
character or life of these strange people they know
little or nothing." The island in question, which is
really a number of small sandy hillocks separated by
shallow canals and strongly dyked against the invad-
ing Zuyder Zee, would probably remain uninhabited
in any quarter of the globe where dry land is less
at a premium than in Holland. It is surmised that
the terrors of the Spanish Inquisition first caused the
colonization of the unpromising islet, and the original
manners and customs of these early settlers have been
largely preserved to this day. In seventeen chapters
and twenty pencil sketches and a colored frontispiece
the author makes his readers somewhat familiarly
acquainted with Marken ("Marriker" the natives
call it) and its delightfully unsophisticated inhabit-
ants. The book is as striking to the eye in its elab-
orate and Dutch-like exterior ornamentation as it is
appealing to the interest in its reading matter.
A volume refreshingly original in recent travel
literature is presented by Mr. Charles Fish Howell
in his "Around the Clock in Europe " (Houghton).
The plan of the work is explained to the eye by the
cover design,—a clock dial with the names of twelve
European cities running around it; and this plan is
further elucidated by the author in his preface. His
purpose was to convey in words a picture of each of
these twelve places at what he has considered its
typical hour. Thus Edinburgh is described as seen
in the early afternoon, from one to two o'clock; Ant-
werp from two to three; Rome from three to four;
Prague from four to five; Scheveningen from five
to six; Berlin from six to seven; London from seven
to eight; Naples from eight to nine; Heidelberg
from nine to ten; Interlaken from ten to eleven;
Venice in the hour before midnight; and gay and
wicked Paris in the hour after midnight. Mr. Harold
Field Kellogg has drawn twenty-five views (a vig-
nette at the beginning of each chapter, and a larger
plate inserted a little later) to embody, visually, the
author's thought. Venice claims the added distinc-
tion of furnishing a motif for the book's frontispiece,
a view of the Piazza San Marco from the Grand
Canal.
Mr. and Mrs. Walter Hale's "Motor Journeys"
(McClurg) is made up of thirteen breezy narrative
chapters that have appeared separately in "Harper's
Magazine " and other periodicals, with numerous
illustrations by Mr. Hale and an appended discus-
sion by him of the cost of this mode of sight-seeing.
Mrs. Hale (Louise Closser Hale) has written the rest
of the book. It is in western Europe and northern
Africa that the scene of the story — for it has some
of the fascination of fiction—is laid. As to practi-
cal matters, Mr. Hale, who has made seven motor
tours in Great Britain and on the Continent in the
last eight years, asserts that the daily expense can
be kept down to ten dollars or even less. France
is the motorist's paradise; the roads are the best in
Europe, and the hotel bills, except in the large cities,
are moderate. But gasolene costs about twice what
it does in England, for some unexplained reason.
Spain stands at or near the other end of the scale
for desirability to the autorr.obilist. The artist's
drawings for this series of motor journeys are many
in number and tasteful in design. They are repro-
duced in such a manner as to convey the general
impression of etchings. Intending motor-tourists
will find the book of especial interest and full of
useful hints and information.
Some voyagers, like Captain Amundsen and Com-
mander Peary, seek the uttermost ends of the earth,


448
[Dec. 1,
THE
DIAL
and then record their perilous adventures for admir-
ing thousands to read; others, like R. L. Stevenson,
content themselves with an inland voyage or a coast-
wise cruise, and let their inventive fancy play about
the simple incidents of the outing in a way to amuse
their host of appreciative readers. Mr. E. Keble
Chatterton is one of the inland voyagers, and his
"Through Holland in the Vivette" (Lippincott) is
the variously entertaining logbook of "the cruise of
of a 4-tonner from the Solent to the Zuyder Zee,
through the Dutch waterways," with sixty illustra-
tions, harbor-plans, charts, etc. As shown by " Down
Channel in the Vivette," Mr. Chatterton knows how
to get the very most out of a yachting trip such as
the present volume describes. A few of his chapter-
headings (such as "A Chapter of Accidents,"
"Southampton Water to Ramsgate," "Ramsgate
to Calais," "Calais to Ostende," and so on, with
landings at Dordrecht, Amsterdam, and other im-
portant points) may serve to indicate the nature of
the book's contents. The author had as sailing mate
Mr. Norman S. Carr, who sketched and photo-
graphed for the book's embellishment. It is a good
substantial volume, ably planned and pleasingly
executed.
Opportunity for the study of primitive savagery
in darkest Africa is constantly narrowing with the
invasion and settlement of those regions on the part
of Europeans, so that in a few years it may be
impossible for an explorer to produce such a book
as Mr. M. W. Hilton-Simpson, F.R.G.S., F.Z.S.,
F.R.A.I., has written in " Land and Peoples of the
Kasai" (McClurg). It is "a narrative of a two
years' journey among the cannibals of the equatorial
forest and other savage tribes of the south-western
Congo," and is illustrated with many process-prints
from photographs taken in most instances by the
author, and also with eight colored plates. A large
folding map of the Belgian Congo follows the read-
ing matter, and a ten-page index closes the book.
The work shows the careful personal observation
that gives value to books of its class. The author
rejoices at having been able " to amass a great num-
ber of objects for the British Museum " and " to turn
to good advantage the opportunities we had enjoyed
of studying the primitive African negro before he
has been materially changed by contact with the
European."
To disabuse oneself of any lingering preconception
that Switzerland is a country to be visited only in
summer, one merely needs to open Mr. Edmund B.
d'Auvergne's "Switzerland in Sunshine and Snow,"
a book that portrays with pen and camera the charms
of the Swiss winter as nowise inferior to those of the
Swiss summer. A chapter devoted to the native cold-
weather sports finds appropriate place in the book,
side by side with one on " Winter in the Alps." Other
sections treat in agreeable detail of the St. Bernard
dogs, the guides, the Lion of Lucerne, Chillon, Neu-
chatel, Berne, the Bernese Oberland, "the Protest-
ant Rome," which is, of course, Geneva, the land of
William Tell, the Swiss lowlands, and other districts
and features of this favorite European playground.
Incidents of travel and other personal experience
enliven the author's pages and make it abundantly
evident that he is writing from no second-hand or
guide-book information. He loves his Switzerland,
and he makes his feeling contagious. Thirty-six
typical views, four of them colored, help to transplant
the reader, in imagination, from his arm-chair to the
lakes and mountains whose like are nowhere else to
be found. Ornate binding, large print, an index to
the proper names in the book, and a good box to hold
the volume are all duly provided. (Little, Brown &
Co.).
The Scottish Border has something in its very
name that suggests romance, and of this agreeably
suggestive quality Mr. A. 6. Bradley has made the
most in his rambling sketches of southeastern Scot-
land which he has gathered into a volume under the
title, "The Gateway of Scotland, or East Lothian,
Lammermoor, and the Merse " (Houghton). Mr.
A. L. Collins contributes eight cheerful views in the
opulent hues of nature — or even with somewhat
more than nature's opulence in this matter of color
—and fifty-seven soberer drawings in black and
white. Mr. Bradley well says that the region chosen
by him for description and comment is almost an
unknown land to the great travelling public. His
very first chapter, on Berwick-on-Tweed, will catch
the average reader cherishing the mistaken fancy
that this old town is on Scottish soil; and, indeed,
as the author remarks, "that the whole south-
eastern corner of what by every law of nature and
common sense should be the Scottish county of
Berwickshire beyond Tweed, even to the measure
of some eight square miles of pastoral and tillage
upland, is English soil, remains, I feel morally
certain, a geographical and political curiosity only
understood by Borderers." And what, furthermore,
will ninety-nine non-Scottish readers out of a hun-
dred conceive to be designated by such geographical
names as East Lothian, Lammermoor, and the
Merse? The book is well worth a nearer acquaint-
ance,— if only for the sake of clearing up these
obscurities.
Good line drawings that convey the impression
of wood-cuts diversify in pleasing manner the pages
of Mr. Percy Allen's "Burgundy, the Splendid
Duchy" (Pott), and not even the eight water-colors
by the same artist (Miss Marjorie Nash) can make
us forgo our partiality for the less elaborate but more
satisfying sketches. The reading matter which these
illustrate and enliven comprises a series of "studies
and sketches in South Burgundy," interweaving per-
sonal experience and learned comment in a way to
win the reader's attention and make him consider-
ably wiser in the art, history, traditions, and customs
of the duchy than he was before. Burgundy has
played no unimportant part in European history.
The author reminds his readers that "it saw the
genesis of a religious movement that was the great-
est feature of eleventh and twelfth century history.
Cluny was a nursery of popes; Citeaux became a


1912.]
449
THE
DIAL
breeding-ground of saints; their abbots lorded it
over mighty kings; they dictated to potentates and
princes; they bent all western Europe beneath their
sway." Mr. Allen's book is one of the best of its
class, written not for the passing season, but for
permanent keeping and repeated reading and con-
sultation. Its appeal to the eye also makes it an
attractive gift book.
Holiday Books of History.
Local history has no more enthusiastic devotee
than Mr. Stephen Jenkins, careful chronicler of
Broadway's numberless points of historic interest
from Bowling Green to Albany, and more recently
author of a companion volume on "The Story of
the Bronx" (Putnam), which traces the borough's
settlement and growth from its purchase by the
Dutch (from the Indians) in 1639 to the present
day. As with its predecessor, "The Greatest
Street in the World," this work is the product of
years of research and note-taking. The author says
in his preface: "The preparation of this history
has taken over a decade, during which time I have
jotted down various facts and incidents as I have
run across them, either in books, or in the daily
press, or in magazines. I have kept no account of
the sources from which I have drawn my facts,
so that I can furnish no bibliography." But he
acknowledges indebtedness to Bolton's and Scharf's
histories of Westchester County. "The earlier his-
tory of the Borough," he tells us, "can be found in
both these works, if one has plenty of time to search
for it." Among his most interesting chapters are
those touching on colonial manners and customs, the
Bronx during the Revolution, the churches, early
and later means of communication, and ferries and
bridges. More than one hundred illustrations and
maps are interspersed, the former from photographs
taken by the author, and the latter so chosen as to
represent the borough's topography at the close of
each distinct period in its history. The frontis-
piece of the book is a reproduction of Mr. E. W.
Deming's painting, "The Purchase of Keskeskeck,
1639," and there are numerous other illustrations.
An excellent index of nearly twenty double-column
pages completes the volume.
The springing of our American Boston from the
loins of old Boston in England, whose famous church
(St. Botolph's) is more than twice as old as the
younger city which derives its name, indirectly, from
the patron saint of the Lincolnshire town, is not yet
so hackneyed a theme of historical narrative as to
render superfluous Mr. Albert C. Addison's volume
of original research and entertaining comment and
discussion, "The Romantic Story of the Puritan
Fathers, and their Founding of New Boston and the
Massachusetts Bay Colony, together with Some Ac-
count of the Conditions which Led to their Departure
from Old Boston and the Neighboring Towns in En-
gland" (Page). The length of the title, the greater
part of which is really a sub-title, but worth noting
for the sake of completeness, need not dismay any
intending reader. The book itself is of moderate
proportions, diversified with frequent illustrations
from old and new Boston, especially the former. In
fact, the parent rather than the lusty offspring claims
the chief attention, which is gladly accorded. In
the table of contents such promising headings as the
following arrest the eye,—The Mayflower Pilgrims,
The Puritan Exodus, A Boston Adventure, John
Cotton, Quaint Services in Boston Church, Mutila-
tion of the Town's Maces, Church Life in Boston,
The Lincolnshire Movement, Faith and Flight of
Cotton, Old Boston in Cotton's Day, The Bostons
and "The Scarlet Letter," Links with Old Boston,
and Cotton's Successors at St. Botolph's. The book
is highly ornamented, with page-borders in olive
green, tinted illustrations from photographs, a useful
index, and a neat box to preserve all these good
things from defacement
Miss Mary Caroline Crawford has in former books
succeeded so well in transporting her readers to the
early times of Boston that large expectations are
excited by the appearance of her " Romantic Days
in the Early Republic " (Little, Brown & Co.). What
she did so well for her own city in " Old Boston Days
and Ways" and "Romantic Days in Old Boston"
she now does for a larger constituency, selecting
such portions of history and tradition as may restore
to us with something of charm and fascination the
by-gone days of Philadelphia, New York, Washing-
ton, Baltimore, Charleston, Richmond, New Orleans,
and, in a concluding chapter, Boston once more and
certain other cities of New England. Naturally,
good use has been made of such interesting char-
acters as Hamilton and Burr, Jerome Bonaparte
and his wife, Lafayette, and Franklin, and Andrew
Jackson, and many others. The materials for such
reconstruction of the past are abundant; the merit
of the book lies in their skilful use. No formal
bibliography of her manifold theme is drawn up by
the author, but her pages contain frequent incidental
references to her authorities. A pleasanter way to
study American history—the history of our manners
and customs, and something about our great men and
women of the past—could not be imagined than the
way opened to the reader of Miss Crawford's chatty
and anecdotal volumes. As in her former works,
illustrations from old prints and portraits are given
in profusion.
A re-issue in two volumes of Mrs. Elizabeth W.
Champney's three volumes on the French ch&teaux
(feudal, renaissance, and Bourbon) is among the
season's notable books of travel and description.
"Romance of the French Ch&teaux" (Putnam) will
in its new form attract fresh readers. Its author's
skill and artistry in interweaving the history and
legend of the scenes visited by her are familiar to
readers of her other "romance" volumes—on the
French abbeys, the Italian villas, and the Roman
villas. Her artist-husband, one gathers from her
pages, accompanied her on her travels, and supple-
ments the photographs that adorn her volumes with
occasional less mechanical representations of things


450
. [Dec. 1,
THE
DIAL
seen. Among the famous castles pictured and
described in the present work are to be noted the
chdteaux of Mont St. Michel, Falaise, Gaillard,
Josselin, Laval, Chateaudun, Chaumont, Nantes,
Amboise, Pau, Les Rochers, and others of equal
celebrity. Les Rochers serves as excuse, if any were
needed, for devoting considerable space to Madame
de SeVigne- and her circle. An index to the varied
riches of these agreeable volumes would have in-
creased their usefulness. The retention of the old
page-numbering is a little confusing, but not easily
avoidable. Otherwise the workmanship is all that
could be desired.
Prepared especially for members of the City His-
tory Clubs, the twenty-four monographs comprising
"Historic New York during Two Centuries" (Put-
nam) were originally published some years ago in
two volumes. Their present collection in one-volume
form at a moderate price ought to enlarge their circu-
lation. The staff of editors and writers (including
such names as Maud Wilder Goodwin, Alice Car-
rington Royce, Ruth Putnam, Eva Palmer Brownell,
Alice Morse Earle, Oswald Garrison Villard, George
E. Waring, Jr., George Everett Hill, Elizabeth Bis-
land, John B. Pine, Talcott Williams, Spencer Trask,
and others of like prominence) is one to carry weight
with all readers, and the subjects treated—such as
"Fort Amsterdam in the Days of the Dutch," "The
Early History of Wall Street," "The City Chest of
New Amsterdam," "Old Greenwich," "King's Col-
lege," "The Bowery," "Tammany Hall," "Bowling
Green," "The Doctor in Old New York," and "Early
Schools and Schoolmasters of New Amsterdam"—
form an inviting list. Sixty-two illustrations and
maps contribute to the attractiveness and value of
the volume.
By the use of thin but opaque paper, one not
unwieldy volume, entitled "Colonial Homesteads
and their Stories" (Putnam), has been formed from
the two already favorably known as "Some Colonial
Homesteads" and "More Colonial Homesteads,"
written some years ago by her whose pen-name
("Marion Harland") is a guaranty of good literary
quality and skilled workmanship. The stories of
colonial life with which the above-named works
abound will attract new readers to the present one-
volume re-issue. Exceptional facilities for gathering
the information they contain were enjoyed by the
writer, who was received as a guest at the various
homesteads pictured in her pages, and who had placed
at her disposal all sorts of family records and faded
manuscripts and curious mementos of a by-gone time,
from which to frame her graphic chapters. The
illustrations comprise both exterior and interior
views and portraits, and are in lavish abundance.
The southern and middle Atlantic States are chiefly
represented in the mansion described, so that there
remain many old New England houses for the full
and intimate treatment which they, no less than
these others, richly deserve. The original division
into two parts, with full index to each, is preserved
in the one-volume form of the work.
Holiday Art Books.
A novelty in the literature of arts and crafts is
presented in "A Book of Hand-woven Coverlets,"
by Eliza Calvert Hall (Mrs. William Alexander
Obenchain), whose "Aunt Jane of Kentucky" has
made her name well-known in a rather different
department of literature. The old-fashioned hand-
woven coverlet is to her an object of human as well
as of artistic interest, and she evidently feels that
if she could understand it, woof and all, and all in
all, she would know what God and man is. In it
she sees "poetry, romance, religion, sociology, phil-
ology, politics, and history." Four years of search
and travel in many states were spent in gathering
facts and designs for her book; it was a new field
of study, and she had to break her own road through
the wilderness. Even if, as she intimates, there still
remains a vast unexplored domain of coverlet-lore,
her book is still a considerable and a praiseworthy
achievement. Its ten agreeable chapters afford us
a glimpse into the primitive times of the spinning-
wheel and hand-loom; introduce to us the mountain
weavers of Virginia, North Carolina, Tennessee, and
Kentucky, where indeed "women are working at
wheel and loom just as their great-great-grand-
mothers worked"; discuss the mysteries of coverlet
designs and colors and names; touch on the historic
and family associations of the "storied coverlet";
and, finally, appeal to the reader to rescue and cher-
ish any heirloom of the coverlet kind that may be
lying unappreciated in attic or storeroom. Sixteen
colored plates and forty-eight in half-tone present to
the eye as many patterns of hand-woven coverlets.
The photographic process has transferred the mi-
nutest details of web and design to the page, and
where colors have been used the beauty of the pat-
tern is still further reproduced. The text is printed
in unusually clear type, and the handsome binding
shows, very appropriately, a pleasing coverlet design
on the front cover. (Little, Brown & Co.)
The poetry of motion is lavishly pictured and
adequately described in three notable volumes on
the modern art of dancing, chiefly stage dancing.
First, there is Miss Ethel L. Urlin's "Dancing,
Ancient and Modern" (Appleton), a compact and
useful treatise, giving briefly the history of the chief
varieties and some minor varieties of the dance,
even including the cake-walk, the Apache dances,
Maori dances, and the danse macabre. As a handy
epitome of the whole subject, with pleasing illustra-
tions from paintings and from life, the book is to be
commended. Appropriate selections from the poets
are interspersed, and an embossed representation of
Miss Maud Allan exemplifying the latest form of
stage dancing adorns the cover.—The second work
is Mr. J. E. Crawford Flitch's "Modern Dancing
and Dancers " (Lippincott), a volume of quarto size
enlivened with colored plates as well as with many
half-tone illustrations. The author devotes one chap-
ter to a cursory historical view, "The Ancient and
Modern Attitude Towards the Dance," and then
gives his attention to the ballet in different countries,


1912.]
451
THE DIAL
the skirt dance, the serpentine dance, the high kick-
ers, the revival of classical dancing, Russian dancers,
oriental and Spanish dancing, the revival of the
morris dance, and the future of dancing. Believing
as he does that "when the art historian of the future
comes to treat of the artistic activity of the first dec-
ade of the twentieth century, he will remark as one
of its most notable accomplishments a renaissance of
the art of the Dance," he handles his theme with
befitting seriousness and, what is more, engages the
serious interest of the reader. Some good reproduc-
tions from Sargent and other painters are among the
illustrations of this sumptuous volume.—Last but not
least, we have Mr. and Mrs. Charles H. Caffin's rich
quarto volume, "Dancing and Dancers of Today"
(Dodd), or, as the sub-title reads, "The Modern
Revival of Dancing as an Art." Together with some
tracing of the history of modern dancing there are
chapters on individual dancers: Isadora Duncan,
Maud Allan, Ruth St. Denis, Genee, Mordkin, Pav-
lowa, Sacchetto, and Wiesenthal; and also chap-
ters on the ballet, the Russian dance-drama, court
dances, eccentric dancing, and folk dancing. Forty-
eight large plates from photographs illustrate the
work, which is ornately bound and boxed.
Mr. Frank Roy Fraprie, having already written
agreeably of Bavarian inns and Scottish castles and
Munich art galleries, confines his attention for his
this year's book to a single great artist and his works.
"The Raphael Book " (Page) is described in its sub-
title as "an account of the life of Raphael Santi of
Urbino and his place in the development of art, to-
gether with a description of his paintings and fres-
coes." Fifty-four full-page plates, six of them in
color, reproduce'or at least suggest to the reader's
eye the chief masterpieces of this artist who first
made religious painting something more than a stiff
conventionality. New facts are of course not to be
sought in any re-telling of the story of Raphael's
life; but new points of emphasis, new opinions on
debatable questions in his art, and fresh enthusiasm
for his genius, are always possible and in order. It
is in this freshness of presentation and hearty enjoy-
ment of Raphael's peculiar merits that the strength
of Mr. Fraprie's book lies. The volume ends with
a useful list of pictures painted by or attributed to
Raphael, and a twelve-page index. The many illus-
trations and handsome binding of the work make it
a suitable gift book. It is neatly and strongly boxed.
Of increasing interest because of increasing rarity
is the old colonial homestead exemplified by the
Cabot house at Salem, the Fowler house at Danvers,
the Jewett house at Georgetown, Mass., the Warner
house at Portsmouth, and a number of others still
standing in the older towns of our Atlantic States.
"Colonial Homes and their Furnishings," by Miss
Mary H. Northend, is a volume rich in descriptive
details of such early and noteworthy examples of
domestic architecture as are to be found in old
Salem, Marblehead, Danvers, Newburyport, and
other places not far distant, with a considerable
study of old colonial furniture and decoration—all
elaborately illustrated with more than two hundred
plates. It was illness and a desire for occupation
to divert her thoughts that first turned the author's
attention to the subjects treated in her book, and
now, she tells us in her preface, she has one of the
most valuable existing collections of photographs
illustrating those subjects. Her arrangement of
topics, as indicated in the table of contents, is note-
worthy. First she discusses old houses in their total-
ity, then colonial doorways, door-knockers, old-time
gardens, halls and stairways, wall-papers, chairs and
sofas, sideboards and bureaus and tables, four-posters,
mirrors, clocks, old-time lights, old china, old glass,
old pewter, and old silver. The7 largeness of the
book's pages admits of some unusually fine illustra-
tions, as for instance that of the Nichols garden, the
Middleton house, the Andrew-house doorway, and
others that might be named. Clear type, a full in-
dex, and a rich and appropriate binding are among
the book's excellences. (Little, Brown & Co.)
Mr. Henry C. Lahee has given so much attention
to the rise of grand opera in this country as to qualify
him for his latest undertaking, a volume on "The
Grand Opera Singers of To-day " (Page), the object
of which, he tells us in his preface, "has been to
give some account of the leading singers who have
been heard in America during the present century."
But "those whose careers have been touched upon
in ' Famous Singers of Yesterday and To-day,' and
in 'Grand Opera in America' are not mentioned,
except perhaps casually, in this book." The histories
of the leading American opera houses are followed
with some account of the various singers appearing
on their stages, and criticisms of these opera singers
are quoted from authoritative sources. The seven
chapters deal with the Metropolitan Opera-House
under Maurice Grau, the same under Heinrich
Conried, the Manhattan Opera-House under Oscar
Hammerstein, the Metropolitan (again) under Gatti-
Casazza and Dippel, the Boston Opera-House under
Henry Russell, and the Chicago-Philadelphia Com-
pany under Dippel. The list of singers treated with'
pen and camera within the ample compass of the
book is too long to be given here. Among the im-
presarios, the variously gifted and boldly enterpris-
ing Mr. Hammerstein attracts most attention. A
short concluding chapter, briefly retrospective and
forward-looking, ends with the passage from Shaler's
"Individual" which promises more for the future
development of music than for any other of the fine
arts. The book, in its red and gilt binding, 'and
with its clear print and numerous portraits of opera
singers in their characteristic roles, is a notably
attractive volume.
Last January Mr. Joseph Pennell went to Panama
to make drawings of the Canal, and he found, when
he arrived, that his visit had been well timed for
catching views of the great works in their most stu-
pendous stage and before the letting in of the water
should have partly hidden those marvels of cyclopean
engineering. A volume of twenty-eight reproduc-
tions from his original lithographs, preserving as


452
[Dec. 1,
THE
DIAL
many views of the " big ditch" and its surroundings
on the eve of its completion, is the result of his excur-
sion. "Joseph Pennell'8 Pictures of the Panama
Canal" (Lippincott) is the title of the volume, in
which the artist's pen has cooperated with his pencil
in conveying some adequate impression of the won-
ders that confronted him. Picking his points of
view with an eye to effect, and provided with an
official pass that left him at liberty to risk his neck
as boldly as he chose, Mr. Pennell was able to repro-
duce scenes that no photographer has yet caught;
and he has imparted to them the charm and the
aesthetic suggestion that no camera can capture. His
Introduction and comments are an excellent aid to
one's appreciation of both the engineering enterprise
itself and the artistic undertaking of the undaunted
sketcher.
A most engaging and lovable personality was
that of the late William T. Richards, widely known
for his paintings of the sea in all its varied moods.
In Mr. Harrison S. Morris's small volume, " William
T. Richards: A Brief Outline of his Life and Art"
{Lippincott), is presented a pleasing portrait of the
man and artist from the hand of one who knew him
well and esteemed him highly. Richards was no
mere painter of pictures; in him was "a touch of
life beyond the monopolizing palette. . . . He was
apt in all the pleasant devices of conversation, full
of humor and quiet laughter, full of diverting stories
from his travels and his contact with life in many
countries, and full of that large acquaintance with
books that furnishes a ripe mind with overflowing
talk." Fourteen "masterpieces of the sea," as Mr.
Morris rightly calls them, and one landscape are
reproduced from Richards's canvases, and portraits
of the artist and his wife are also given. In all its
details the book is a handsome piece of work as well
as an excellent bit of biography.
Holiday Editions of Standard Literature.
"The Life of the Bee," that wonderful book of
M. Maeterlinck's which is neither science nor natural
history, nor prosaic fact of any sort, but poetry and
suggestion and beauty, all with a substantial basis
in truth (which is itself the most suggestive and
beautiful thing known), comes out again this season
in a finely illustrated edition printed on heavy paper
with generous margins, and ornately bound and
boxed. The excellence of Mr. Alfred Sutro's lim-
pid translation is already recognized. The illustra-
tion,'done by Mr. Edward J. Detmold, will be found
no whit inferior: his flower pictures have the effect
of water-colors, or rather of nature itself; and his
bees hovering over them can almost be heard to
buzz, so that, as in the case of the famous bee
painted by Quintin Matsys of old, a nervous person
might be inclined to draw forth pocket-handkerchief
and flirt them away. There are thirteen of these
exquisite, designs, loosely mounted on heavy tinted
paper, while the cover further displays the artist's
skill. In all its appointments this edition of a work
whose aim is "to speak of the bees very simply, as
one speaks of a subject one knows and loves to those
who know it not," is in beautiful accord with the
high aim of its author. The book is of quarto size,
which gives ample scope to both printer and illustra-
tor to do their best work. (Dodd, Mead & Co.)
In rich holiday attire appears Mr. Kipling's
"Kim," the orphan lad of Lahore who, though he
owned a European costume — trousers, a shirt, and
a battered hat—"found it easier to slip into Hindu
or Mohammedan garb when engaged on certain
businesses," and who, "as he reached the years of
indiscretion, learned to avoid missionaries and white
men of serious aspect who asked him who he was and
what he did. For Kim did nothing with an immense
success." He knew the wonderful walled city of
Lahore from end to end, was intimate with men who
lived stranger lives than were ever dreamt of by
Haroun al Raschid, and his whole existence was a
continuous "Arabian Nights" tale. But, remarks
the author, missionaries and secretaries of charitable
societies could not see the beauty of it. The beauty
of it, or at least the interest of it. has nevertheless
appealed to thousands of readers, and many more
are likely to be drawn to the story by this handsome
edition, illustrated with reproductions of the series
of terra cotta placques designed for the story by the
author's father, J. Lockwood Kipling, and having as
end-leaves a colored reproduction of one of Verest-
chagin's paintings. Colored borders set off the plates,
which are themselves tinted, and the binding is in
red and gold. (Doubleday, Page & Co.)
In a handsome two-volume edition, for which the
type was entirely reset, and which has sixty-four well-
chosen illustrations, "The Romance of Leonardo da
Vinci" reappears in Mr. Herbert Trench's authorized
translation from the Russian of Dmitri Merejkowski.
It is ten years since this remarkable romance of a
great artist's life was first offered to English readers
by its present publishers (G. P. Putnam's Sons), and
in that time, as is announced on the reverse of the
title-page, it has had no fewer than eight re-printings.
The plates provided for this edition embrace a large
number of reproductions of Leonardo's paintings and
of other works of contemporary artists, also portraits
and views in abundance. The late disappearance
(and repeatedly reported reappearance) of the famous
"Mona Lisa " portrait from the Louvre gives especial
timeliness to this fine edition of the Russian roman-
cer's book; and his chapter, in the second volume,
on "Mona Lisa Gioconda" acquires a current inter-
est apart from its own literary merits. The artist's
portrait of himself, in the Uffizi Gallery, furnishes
a frontispiece for the first volume, while his "Mona
Lisa" performs a like service for the second. The
volumes are attractively bound in blue and gilt.
In a new edition, uniform with recent reissues of
Dean Ramsay's and John Gait's pictures of Scottish
life and character, there is now revived that classic
of the early nineteenth century, "The Life of Mansie
Wauch, Tailor in Dalkeith" (McClurg), by David
Macbeth Moir, contemporary and friend of John
Gait and a writer gifted with an exquisite humor


1912.]
453
THE
DIAL
and a deft touch in the portrayal of personal oddi-
ties. Contributing frequently to "Blackwood's Mag-
azine" in the twenties — in fact it was there that
"Mansie" made its appearance as a serial — Moir
gained a reputation that was further increased by
the rapid reissue in edition after edition of his mas-
terpiece, the book now under consideration. Mansie
is a most laughably and lovably conceited person, as
depicted by himself in this his alleged autobiography.
In the mere record of his birth he cannot conceal
his foible, for he speaks of his father and mother as
"little, I daresay, jalousing, at the time their eyes
first met, that fate had destined them for a pair,
and to be the honoured parents of me, their only
bairn." The tremendously important events of
Mansie's sartorial career, of his courtship and mar-
riage and all the little domesticities of his life, make
the richest of reading as told by the chief actor in
the drama. The book was well worth reviving, and
in its present handsome form, with colored illustra-
tions from oil paintings by Mr. Charles Martin
Hardie, U.S.A., it is a book to own and to keep.
It is almost half a century since the late John Hay
struck that vein of popular ballad poetry that proved
so rich during the short time he worked it. "The
Pike County Ballads," first collected in an unpreten-
tious volume that achieved a circulation far smaller
than it deserved, are now issued in handsome form,
with illustrations admirably suited to their character,
by the Houghton Mifflin Company. Mr. N. C. Wyeth
is the artist, and he prefaces his work with a short in-
troduction. "I have endeavored," he says, modestly,
"to add my mite to these already potent lines; to
lift the curtain intermittently, to draw the veil aside
cautiously, and look upon the unsuspecting folk of
Pike County." Seven colored and a greater number
of uncolored drawings admirably catch the spirit of
the ballads. On the book's front cover are depicted
three typical Pike County characters, and the end-
leaves bear representations of still other specimens
of the same gentry.
In a serviceable and beautiful " pocket edition,"
the romances of Theophile Gautier, translated and
edited by Professor F. C. de Sumichrast, of Harvard
University, illustrated with full-page photogravure
plates of a striking nature, and flexibly but strongly
bound in limp leather, are issued in a uniform set
of ten volumes by Messrs. Little, Brown & Co., and
are offered in sets only. The "Travels" of the same
author, also translated by Professor de Sumichrast,
are published in a set of seven volumes, uniform in
style with the novels, by the same publishers. Any
one of these seven volumes may be bought separately.
Introductions, presenting in brief and readable form
much bibliographical and biographical information
and occasional critical comment, are supplied by the
translator. The richness and color of Gautier's style
seem to have been well reproduced in this version of
his works, of which the travel volumes especially show
him to be a master of vivid description, seizing upon
what is most characteristic in the different countries
visited. This opportunity to obtain a uniform set
of his writings in so trustworthy a version and at
moderate cost should not be neglected either by
libraries or by individual purchasers.
In the year following its first appearance, and
already with a circulation of one hundred and thirty-
five thousand to its credit, Mr. Jeffery Farnol's ro-
mance, "The Broad Highway," comes forth with its
charm renewed and heightened in a holiday edition
printed from new plates, with twenty-four colored
pictures by Mr. Charles E. Brock, and an additional
one on the front cover of the artistic binding. Mr.
Brock's previous work has marked him as an illustra-
tor quite equal to the task of doing justice to Peter
and Charmian, Black George and Prue, Sir Maurice
Vibart, and the Ancient, and the other leading char-
acters of this vivid romance. Drawing and coloring
alike are remarkably well done, and not even the
beautiful heroine herself could have been more ac-
ceptably conceived. A short preface of thanks to
his hospitable public is furnished by the author, who
naturally finds himself in a mood to rejoice that
the stony and difficult part of the highway over which
he and Peter have travelled to success and prosperity
is now well passed. (Little, Brown & Co.)
"The Burlington Library" (Little, Brown & Co.)
is well represented this season by two new volumes,
Keats's "Poems" and Kingsley's "Water-Babies,"
each provided with twenty-four graceful illustrations
in color, and each also artistically jacketed and
boxed. Mr. Averil Burleigh's pictures for the Keats
volume are beautifully drawn. The even distribu-
tion of the plates through the book, at every six-
teenth page, as a rule has resulted in a certain
severance of picture from the poem it illustrates,
which might have been avoided—a slight discord
that is repeated in "The Water-Babies." Miss
Ethel F. Everett's colored drawings for this ever-
popular story show understanding of the author's
intention and are designed in the true spirit of
fairy-land. Few if any inexpensive color books can
match this Burlington series, which now contains
seven well-chosen volumes.
Rabelais, in the vigorous seventeenth-century
English of Sir Thomas Urquhart, and copiously illus-
trated with appropriate drawings by Mr. W. Heath
Robinson, appears in a two-volume edition at a
moderate price. The antique flavor of this time-
tested version corresponds well with the archaism
of Rabelais's style, and the humorous conceits of the
illustrator fall no whit behind the amusing inventions
of the author. More than one hundred of these draw-
ings are interspersed. The volumes are tastefully
and strongly bound. (J. B. Lippincott Co.)
Holiday Anthologies.
Although Mr. Alfred H. Hyatt's volumes, "The
Charm of London" and "The Charm of Venice"
(Jacobs), are compilations as to their reading mat-
ter, the range and variety of the selections and the
superior quality of the illustrations (from water-
colors by Mr. Yoshio Markino and Mr. Harald
Sund) give the books an excellence not attained by


454
[Dec. lt
THE
DIAL
the ordinary holiday publication of this sort. Each
of the volumes contains about two hundred well-
chosen extracts in prose and verse from approved
sources, including American as well as English
authors. Twelve excellent reproductions of water-
color drawings are provided for each volume, those
for London being from Mr. Markino's brush, those
for Venice from Mr. Sund's. The Japanese artist's
style is already familiar to the many readers of his
books; and Mr. Sund's drawings are equally pleas-
ing in their way. It is remarkable how carefully
the former artist, coming of a nation whose art
seems to us so devoid of the principle of perspective,
has rendered the perspective, especially the atmos-
pheric perspective, in his London scenes. The deli-
cacy and finish in both sets of illustrations make
them a delight to the eye.
For its maximum of wisely-chosen Christmas verse
within a minimum of space, no compilation of its sort
could well surpass Mr. Edward A. Bryant's "Yule-
tide Cheer" (Crowell), which has brought together
all the familiar old carols and poems of the season,
and also a good number of the newer and less familiar
pieces of verse appropriate to the same joyous season
—all arranged according to subject in eight sections,
"Yule-tide Anticipations," "The Yule Log," " Santa
Clans and Other Saints," " Christmas Day," " Christ-
mas in Sacred Song," "Christmas Carols," "New
Year's," and "Epiphany." Poems as old as the
Anglo-Norman carol of the thirteenth century, sup-
posed to be the oldest extant carol in our tongue,
and as modern as Father Tabb's and Mr. Bliss Car-
man's Christmas pieces, find a place in the book. To
the table of contents and the index of titles and first
lines an index of authors might wisely have been
added. The little volume is tastefully printed and
bound and boxed, and has an appropriate frontispiece.
Of late years, no holiday season has been complete
without its book on the cheerful art of being happy.
This season accordingly brings forth an elaborately
ornamented and at the same time pleasing volume of
prose and verse selections compiled by Miss Jennie
Day Haines under the title "A Book of Happiness"
(Jacobs). Mr. Orison Swett Marden, that indefati-
gable preacher of the gospel of success, contributes
the first extract, and Mrs. Browning occupies the
place of highest honor, at the end of the list. Be-
tween the two there must be nearly a thousand other
quotations, short and long, prose and verse, grouped
in chapters appropriately headed. To the indeter-
minate "Selected" are credited a considerable num-
ber of passages. From Leigh Hunt comes one of the
shortest and best: "It is books that teach us to refine
our pleasures when young, and to recall them with
satisfaction when we are old." Whether or not
happiness will come by taking thought, no more
attractive book of its sort could be asked for as a
gift volume.
The latest but not the least addition to the series
of volumes devoted to poems of places comes from
the editorial hand of Mr. J. Walker MoSpadden,
and is called "The Alps as Seen by the Poets"
( Crowell). The poems, selected with good judgment
from the great poets, and from some of their minor
fellow-singers, are grouped geographically and in
alphabetic order under such headings as Appenzell,
Berne, Fribourg, Geneva, etc. Sixteen colored views
of Alpine scenery, bringing out, here and there, some
admirable effects of light and shade on lofty moun-
tain peaks, are furnished by Mr. A. D. McCormick,
Mr. J. Hardwicke Lewis, and Miss May Hardwicke
Lewis. The cover design is striking and appro-
priate. The editor has written an introduction, and
the printer has used his best and clearest type.
Miscellaneous Holiday Books.
Chloe, the wife of old Crispin the mushroom-
gatherer, was "worn to a frazzle" with the care of
her ten children (all bad but one, Boadicea), and so
she looked about for a " minder " to relieve her of
care, and finally sent for her nephew Bill, who cleaned
the boots. It is the entrancing story of " Bill the
Minder" which Mr. W. Heath Robinson has told,
with pen and pencil, "for such youngsters — from
nine to ninety — as love their 'Peter Pan' and
'Alice in Wonderland.'" No one would have sus-
pected Bill of having the makings of a good minder
in him; hence the surprise and delight with which
his many and original methods of baby-minding are
viewed by every appreciative reader. He took to
the calling with the enthusiasm of an artist. Nat-
urally, therefore, he carried off all the prizes at "the
great annual Minding Tournament held by the Duke
to celebrate his birthday." The astonishing adven-
tures of Bill and the children whom he minded, end-
ing with the siege and capture of Troy, will keep a
whole family in entertainment for many a winter's
evening. The pictures—sixteen colored plates and
innumerable line drawings—are admirably in har-
mony with the rollicking, whimsical, delightfully
absurd tenor of the tale they illustrate: and they
are, in their way, good art also. The book is of
large octavo dimensions, handsomely and strongly
bound and boxed, and printed in the clearest of
type. It is a veritable treasury of mirth and clever-
ness. (Holt.)
The wholesome delights of an out-door life in the
summer are pictured with pen and camera in Mrs.
Frances Kinsley Hutchinson's book, "Our Country
Life" (McClurg), which is written after a ten years'
test of that mode of existence on a woodland retreat
in Wisconsin. Nature-study, especially bird-study,
chicken-raising, gardening, boating on the near-by
lake, entertaining visitors, motoring to points of
interest in the neighborhood, these and similar
health-giving pursuits and recreations fill the days
of Mrs. Hutchinson and her household during the
long vacation season; and sometimes they seek the
retreat for a breathing-spell in the winter also. A
glance at the chapter-headings of her book will
excite desire to explore its pages. In an engaging
manner the author tells of her garden, the bantams,
the lake, the exhilarating experience of sleeping
under the stars, the country in winter, the story of


1912.J
455
THE DIAL
Nan (a motherless bird), the little daily doings of
the family, and so on. A multitude of photographic
views, charming bits of rurality, including various
aspects of the foliage-embowered and vine-clad
home of the writer, make the book most attractive
to the eye. There is a veritable riot of vegetation
in these pictures, though the primness of one formal
garden is also exhibited. The volume is fittingly
bound in green, with end-leaves depicting green
lawn and spreading trees, and a low-roofed building
in the background.
A picture-book of children, for lovers of children,
with accompanying verses by Mr. Burges Johnson,
comes from the Thomas Y. Crowell Co. in sumptuous
quarto form, with the title "Childhood." The pic-
tures, twenty in number, are full-page plates from
photographs taken by Cecilia Bull Hunter and Caro-
line Ogden, and present as many aspects of happy
infancy and early childhood, with occasional accom-
panying glimpses of motherhood and grandmother-
hood. In a vein not unlike that of Eugene Field,
Mr. Johnson furnishes appropriate lines for each
illustration. The verses are printed in brown on
heavy paper, with ornamental initial letters and a
simple page-border. The illustration to each set of
verses follows it on the next right-hand page, being
loosely attached and bordered with brown. The left-
hand pages are blank — inviting additional rhymes
or pictures, or both, from home talent and based on
home themes. A large outdoor scene, with a sturdy
urchin in the foreground, ornaments the cover, which
itself is in light-brown cloth, artistically stamped in
gilt. This is just the book for the young mother
and the growing family, and is not without attrac-
tions for the old who have once been children
themselves.
Every landscape has as many aspects as it has
beholders. The Swiss views which we see through
Mr. G. Flemwell's eyes in his exquisitely-illustrated
volume, "The Flower-Fields of Switzerland"
(Dodd), are by no means the same as those pic-
tured in any of the several other noteworthy Swit-
zerland books of the present season. Mr. Flemwell
is a flower-lover, a flower-painter, and a botanist.
He writes the flower-names with capital initial letters
in his book, and he sees flowers as the chief feature
of the landscape. Hence his beautiful colored pic-
tures of Swiss mountain slopes and hrooksides and
nooks and corners are resplendent with nature's
choicest hues. His earlier work, "Alpine Flowers
and Gardens," met with deserved success, but left un-
treated those aspects of the Alpine fields, especially
in spring, which have won his enthusiastic admira-
tion, and which he now so admirably reproduces.
Each view, loosely mounted on heavy paper, is like
a water-color for delicacy. Flower effects, in mass
at a distance, and in detail in the foreground, are
given with unusual skill, and the accompanying com-
ment and description from his pen are in good taste.
He closes with a plea for the introduction of this
feature of Alpine loveliness into England, where
the daisy, the buttercup, and the dandelion might
well be supplemented by many examples of the Swiss
wild-flowers. Mr. Henry Correvon, horticulturist at
Floraire near Geneva, and a friend of the author,
prefaces the book, which contains reproductions of
twenty-five of the author-painter's water-colors, not
counting the one on the cover. It is one of the most
strikingly beautiful volumes of the season.
Two of the late Katharine Prescott Wormeley's
most important translations from the French —
"Illustrious Dames of the Court of the Valois
Kings" and "The Ruin of a Princess"—are now,
a dozen years after their first appearance in an
edition too expensive for popular purchase, repub-
lished in handsome but less costly form, with all the
original illustrations, and with no curtailment of
text, by the Lamb Publishing Company. It is from
Brant6me's "Vies des Dames Illustres" and "Vies
des Dames Galantes," with Sainte-Beuve's "Monday
Chats" on five of the chosen dames, that the trans-
lator has drawn her material for the first-named
work; and from Madame Elisabeth, the Duchesse
d'Angoulgme, and Clery, Louis the Sixteenth's valet,
that she gets her account of "the ruin of a princess,"
that unfortunate lady being Madame Elisabeth her-
self. Brant6me's style, his ingenuous frankness in
recording various sorts of rascality perpetrated by
his contemporaries, need not here be commented on.
It makes brisk and not seldom amusing reading.
The pathos in the undeserved tribulations of the
heroine of the other work will appeal to every
reader not wholly bereft of pity. The well-known
smoothness and trustworthiness of Miss Wormeley's
rendition have contributed much to the popularity
of the many works bearing her name as translator.
The two volumes here named are uniform in style,
each having eight photogravures, and each being
excellently printed and handsomely bound in blue
and gold.
Our ever-increasing interest in the Land of the
Rising Sun, a land that has so recently emerged
from the Bemi-darknees of her medievalism into the
glare of modernity, makes welcome and timely such
a variously informing and curiously entertaining
volume as Mr. F. Hadland Davis's "Myths and
Legends of Japan" (Crowell). It is the fruit of
careful study and wide reading, the now sufficiently
numerous standard authorities on things Japanese
having been pressed into service in the compiling
of the book. No country has a richer folklore than
Japan, and Mr. Davis's chapter-headings alone con-
vey some idea of its range and variety. He has
collected the noteworthy legends concerning the
national heroes and warriors, the fox that so often
figures in popular tales, the majestic Mount Fuji-
yama ("the Never-dying Mountain"), Yuki-onna
("the Lady of the Snow"), dolls, butterflies, fans,
thunder, tea, birds, trees, mirrors, bells, and innu-
merable other things; and there are added a brief
treatise on Japanese poetry, a list of the native divini-
ties, a bibliography, an index of poetical quotations,
and, finally, a combined glossary and index to the
entire work. Miss Evelyn Paul has produced thirty-


456
[Dec. 1,
THE
DIAL
two colored pictures in which she is remarkably
successful in embodying that indefinable quality at
once recognized as so peculiarly pleasing in native
illustration. She has made the book a thing of beauty
as well as one of entertainment and instruction.
An artist's wife, herself a woman of letters,
assumes, for the first time apparently, the cares
and responsibilities of a housewife in London, and
straightway has a succession of memorable and
frequently harrowing experiences with her domes-
tics. Beggars, too, of many sorts, but chiefly of the
most respectable appearance, help to vary the mo-
notony of her existence. "Our House, and London
out of Our Windows" (Houghton), by Mrs. Joseph
Pennell, with pictures by Mr. Pennell, tells in a
sprightly fashion the story of this experiment at
home making under unfamiliar conditions. The
"house" was in reality a flat, three flights up and
with a command of sundry picturesque views of
roofs and river and busy street—views that the
artist has turned to account, in his well-known
manner, for the further enlivening of his wife's
already lively narrative. Sixteen of these glimpses
of "London out of our windows" are offered, de-
picting with Mr. Pennell's customary charm and
skill many of the most characteristic aspects, both
by day and by night, of the greatest of modern cities.
In this new and handsome edition, with the added
attraction of Mr. Pennell's illustrations, the book
is sure to find the wide circle of readers which it so
well deserves.
A stern parent, or one who tries to be stern, a
pretty and rather saucily self-reliant daughter, an
ardent and determined lover, a steam yacht belong-
ing to the stern parent, some blue ocean, a transac-
tion in real estate—these and sundry other persons
and things, skilfully compounded and flavored with
sentiment, spiced with wit, and embellished with
the illustrator's art, go to make up Mr. Ralph Henry
Barbour's annual demonstration of the incontro-
vertible truth that "love will find a way." The
tale is of the briskly entertaining sort, with an
abundance of spirited dialogue and a sufficiency of
incident, and its title is "The Harbor of Love."
Mr. George W. Plank illustrates it in color, and
Mr. Edward S. Holloway supplies the decorative
page-borders and other ornamentation. (J. B.
Lippincott Co.)
A little tale of courtship and marriage and par-
enthood amid surroundings of rural simplicity and
beauty and quiet is told by Miss Clarice Vallette
McCauley in "The Garden of Dreams" (McClurg).
A prologue and a series of letters, chiefly from the
hero to a sympathetic woman friend, with others
from the heroine to her dead father and other per-
sons not dead, unfold the drama, and we take leave
of the happy pair rejoicing over the birth of a son.
Miranda is the appropriate name of the unspoilt
maiden whom the Ferdinand of the romance—
though that is not his name — wooes and wins. The
little volume is tastefully printed, with tinted page-
borders, and an ornamental binding
The Season's Books for the Young.
The following is a list of all children's books published
during the present season and received at the office of
The Dial up to the time of going to press with this
issue. It is believed that this classified list will com-
mend itself to Holiday purchasers as a convenient guide
to the juvenile books for the season of 1912.
Stories of School Life for Boys.
Henley's American Captain. By Frank E. Chan-
non. Illustrated, 12mo. "Henley Schoolboys
Series." Little, Brown & Co. $1.50.
Campus Days. By Ralph D. Paine. Illustrated.
12mo. Charles Scribner's Sons. $1.50.
"Pewee" Clinton, Plebe: A Story of Annapolis.
By William O. Stevens. Illustrated, 12mo. J. B.
Lippincott Co. $1.25 net.
The Green C: A High School Story. By J. A
Mever. Illustrated, 12mo. Harper & Brothers.
$1.25.
The Pennant. By Everett T. Tomlinson. Illus-
trated, 12mo. Griffith & Rowland Press. $1.25 net.
Fob Old Donchesteb; or Archie Hartley and His
Schoolmates. By I Arthur Duffey. Illustrated,
12mo. Lothrop, Lee & Shepard Co. $1.25.
The Fourth Down. By Leslie W. Quirk. Illus-
trated, 12mo. "Wellworth College Series." Little,
Brown & Co. $1.20 net.
Stories of School Life for Girls.
Nancy Lee. By Margaret VVarde. Illustrated in
color, etc., 12mo. Penn Publishing Co. $1.20 net.
Sue Jane. By Maria Thompson Daviess. Illustrated,
12mo. Century Co. $1.25 net.
Dorothy Brooke at Ridqemore. By Frances C.
Sparhawk. Illustrated, 12mo. Thomas Y. Crowell
Co. $1.50.
Peggy Stewart at School. By Gabrielle E. Jack-
son. Illustrated, 12mo. Macmillan Co. $1.25 net.
A Junior Co-Ed. By Alice Louise Lee. Illustrated
in color, etc., 12mo. Penn Publishing Co. $1.20 net.
When Margaret Was a Sophomore. By Elizabeth
Hollister Hunt. Illustrated in color, etc., 12mo.
Moffat, Yard & Co. $1.25 net.
Polly Prentiss Goes to School. By Elizabeth
Lincoln Gould. Illustrated, 12mo. Penn Pub-
lishing Co. $1.
Jean Cabot at Abhton. By Gertrude Fisher Scott
Illustrated, 12mo. Lothrop, Lee & Shepard Co.
$1. net.
Marjorie in the Sunny South. By Alice Turner
Curtis. Illustrated, 12mo. Penn Publishing Co.
$1.
Stories of Travel and Adventure.
Four Boys on Pike's Peak: Where They Went,
What They Did, What They Saw. By Everett T.
Tomlinson. Illustrated, 12mo. Lothrop, Lee &
Shepard Co. $1.50 net.
Old Foub-Toes; or, Hunters of the Peaks. By Ed-
win L. Sabiii. Illustrated, 12mo. Thomas Y.
Crowell Co. $1.50.
Lieutenant Ralph Osborn aboard a Torpedo Boat
Destroyer. By Commander E. L. Beach, U.S.N.
Illustrated, 12mo. Boston: W. A. Wilde Co.
$1.50.
With the Indians in the Rockies. By James Wil-
lard Schultz. Illustrated, 8vo. Houghton Mifflin
Co. $1.25 net.
Jim Davis. By John Masefield. 12mo. F. A. Stokes
Co. $1.25 net.


1912.]
457
THE DIAL
The Boy Electricians as Detectives. By Edwin
J. Houston, Ph.D. Illustrated, 12mo. J. B. Lip-
pincott Co. $1.25 net.
The Mountain Divide. By Frank H. Spearman. Il-
lustrated, 12mo. Charles Scribner's Sons. $1.25 net.
The Young Woodsmen; or, Running Down the
Squaw-Tooth Gang. By Hugh Pendexter. Illus-
trated, 12mo. Small, Maynard & Co. $1.20 net.
Roger Paulding. By Commander Edward L. Beach,
U. S. Navy. Illustrated, 12mo. Penn Publishing
Co. $1.20 net.
An Abut Boy in Pekin. By Captain C. E. Kil-
bourne, U. S. Army. Illustrated, 12mo. Penn
Publishing Co. $1.20 net.
The Young Fishermen; or, The King of Smugglers'
Island. Bv Hugh Pendexter. Illustrated, 12mo.
"Along the Coast." Small, Maynard & Co.
$1.20 net.
Ken Wabd in the Jungle: Thrilling Adventures in
Tropical Wilds. By Zane Grey. Illustrated,
12mo. Harper & Brothers. $1.25.
The Dragon and the Cross. By Ralph D. Paine.
Illustrated, 12mo. Charles Scribner's Sons. $1.25.
The Land of Ice and Snow; or, Adventures in
Alaska. By Edwin J. Houston, Ph.D. Illus-
trated, 12mo. Griffith & Rowland Press. $1.25.
The Launch Boys Series. New volumes: The
Launch Boys' Adventures in Northern Waters;
and The Launch Boys' Cruise in the Deerfoot, by
Edward S. Ellis. Each illustrated, 12mo. John
C. Winston Co. Per volume, 60 cts.
The Wreck of the Princess. By James Otis. Illus-
trated, 12mo. Penn Publishing Co. 60 cts.
Stories of Out-Door Life.
The Seashore Book: Bob and Betty's Summer with
Captain Hawes. Stories and pictures by E. Boyd
Smith. Illustrated in color, 8vo. Houghton Mif-
flin Co. $1.50 net.
Camping on the Great River: The Adventures of a
Boy Afloat on the Mississippi. By Raymond S.
Spears. Illustrated, 12mo. Harper & Brothers.
$1.50.
Buddie at Gray Buttes Camp. By Anna Chapin
Ray. Illustrated, I2mo. Little, Brown & Co
$1.50.
Camping in the Winter Woods: Adventures of
Two Boys in the Maine Woods. By Elmer Rus-
sell Gregor. Illustrated, 12mo. Harper & Brothers,
$1.50.
The Young Crusaders at Washington. By George
P. Atwater. Illustrated, 12mo. "Young Crusader
Series." Little, Brown & Co. $1.50.
Glenloch Girls at Camp West. By Grace M.
Remick. Illustrated, 12mo. Penn Publishing Co.
$1.25.
The Boy Scouts of Bob's Hill. By Charles Pierce
Burton, Illustrated, 12mo. Henrv Holt & Co.
$1.25 net.
Pluck on the Long Trail; or, Boy Scouts in the
Rockies. By Edwin L. Sabin. Illustrated, 12mo.
Thomas Y. Crowell Co. $1.25.
The Camp at Sea Duck Cove. By Ellery H. Clark.
Illustrated, 12mo. Houghton Mifflin Co. $1.25 net.
Along the Mohawk Trail; or. Boy Scouts on Lake
Champlain. Bv Percv K. Fitzhugh. Illustrated,
12mo. Thomas Y. Crowell Co. $1.25.
Ned Brewster's Year in the Big Woods. By
Chauncev J. Hawkins. Illustrated, 12mo. Little,
Brown & Co. $1.20 net.
The Boy Scouts of Woodcraft Camp. By Thorn-
torn W. Burgess. Illustrated, 12mo. Penn Pub-
lishing Co. $1. net.
Be Prepared; or, The Boy Scouts in Florida. By
A. W. Dimock. Illustrated, 12mo. F. A. Stokes
Co. $1. net.
The Scout Master of Troop 5. By I. T. Thurston.
Illustrated, 12mo. Fleming H. Revell Co. $1. net.
The Boy Scouts of Berkshire. By Walter Pritch-
ard Eaton. With frontispiece in color, 12mo.
Boston: W. A. Wilde Co. $1. net.
The Rambler Club Series. By W. Crispin Shep-
pard. New volumes: The Rambler Club's Gold
Mine; The Rambler Club's House-Boat; The
Rambler Club's Aeroplane. Each illustrated,
12mo. Penn Publishing Co. Per volume, 60 cts.
The Ranch Girl's Pot of Gold. By Margaret Van-
dercook. Illustrated, 12mo. John C. Winston
Co. 60 cts.
Stories of Past Times.
With Carrington on the Bozeman Road. By
Joseph Mills Hanson. Illustrated, 12mo. A. C.
McClurg & Co. $1.50.
The Young Minute-Man of 1812. By Everett T.
Tomlinson. Illustrated, 12mo. Houghton Mifflin
Co. $1.50.
Two Girls of Old New Jersey: A School-Girl
Story of '76. By Agnes Carr Sage. Illustrated,
8vo. F. A. Stokes Co. $1.35 net.
The Lucky Sixpence. By Emilie Benson Knipe and
Alden Arthur Knipe. Illustrated, 12mo. Century
Co. $1.25 net.
The Young Continentals at Monmouth. By John
T. Mclntyre. Illustrated, 12mo. Penn Publishing
Co. $1.25.
The Son of Columbus. By Molly Elliot Seawell.
Illustrated, 12mo. Harper & Brothers. $1.25.
The Courier of the Ozarks. By Byron A. Dunn.
Illustrated, 12mo. "Young Missourians Series."
A. C. McClurg & Co. $1.25.
At Seneca Castle. By William W. Canfleld. Illus-
trated, 12mo. E. P. Dutton & Co. $1.25 net.
"Don't Give Up the Ship!" By Charles S. Wood.
Illustrated in color, etc, 12mo. Macmillan Co.
$1.25 net.
Saddles and Lariats. By Lewis B. Miller. Illus-
trated, 8vo. Dana Estes & Co. $1.25.
White Bird, the Little Indian: Being the Story of
a Red Child and Her Love for a Little Pilgrim.
By Mary Hazelton Wade. With frontispiece in
color, 12mo. Boston: W. A. Wilde Co. 60 cts. net.
Stories of Business and Industry.
The Boy With the U. S. Fisheries. By Francis
Rolt-Wheeler. Illustrated. Lothrop, Lee & Shep-
ard Co. $1.50.
Dave Morrell's Battery. By Hollis Godfrey. Illus-
trated, 12mo. Little, Brown & Co. $1.25.
Hester's Wage-Earning. By Jean K. Baird. Illus-
trated, 12mo. Lothrop, Lee & Shepard Co. $1.25.
Donald Kirk, the Morning-Record Copy-Boy. By
Edward Mott Woolley. Illustrated, 12mo. " Little,
Brown & Co. $1.20 net.
Fred Spencer, Reporter. By Henry M. Neely. Il-
lustrated, 12mo. Small, Maynard & Co. $1.20 net.
Mr. Responsibility, Partner: How Bobby and Joe
Achieved Success in Business. By Clarence John-
son Messer. Illustrated, 12mo. Lothrop, Lee &
Shepard Co. $1. net.
The Young Shipper of the Great Lakes. By
Hugh C. Weir. With frontispiece in color, 12mo.
"Great American Industries Series." Boston: W.
A. Wilde Co. $1. net.


458
[Dec. 1,
THE DIAL
Miscellaneous Stories for Boys.
Crofton Chums. By Ralph Henry Barbour. Illus-
trated, 12mo. Century Co. $1.25 net.
Pabtnebs fob Faib. By Alice Calhoun Haines. Il-
lustrated, 12mo. Henry Holt & Co. $1.25 net.
Two Young Americans—Philip and Molly. By Bar-
bara Yechton. Illustrated, 12mo. Dodd, Mead &
Co. $1.50.
Building an Airship at Silver Fox Farm. By
James Otis. Illustrated, 12mo. Thomas Y.
Crowell Co. $1.50.
The Mystery of the Grey Oak Inn: A Story for
Boys. By Louise Godfrey Irwin. Illustrated,
12mo. Moffat, Yard & Co. $1.25 net.
Just Boy. By Paul West. Illustrated, 12mo.
George H. Doran Co. $1.20 net.
Barry Wynn. By George Barton. Illustrated, 12mo.
Small, Maynard & Co. $1.20 net.
The Aircraft Boys of Lakepobt; or, Rivals of the
Clouds. By Edward Stratemeyer. Illustrated,
12mo. Lothrop, Lee & Shepard Co. $1.25.
The Lucky Chance: The Story of a Mine. By M.
W. Loraine. Illustrated, 12mo. Small, Maynard
& Co. $1.20 net.
The Boys of Marmiton Prairie. By Gertrude
Smith. Illustrated, 12mo. Little, Brown & Co.
$1. net.
Hike and the Aeroplane. By Tom Graham. Illus-
trated in color, 12mo. F. A. Stokes Co. $1. net.
The Worst Boy. By Edward S. Ellis. Illustrated,
12mo. New York: American Tract Society.
$1. net.
Young Honesty—Politician: Being the Story of
how a Young Ranchman Helped to Elect His
Father Congressman. By Bruce Barker. With
frontispiece in color, 12mo. Boston: W. A. Wilde
Co. $1. net.
"Wanted," and Other Stories. By James Otis. Il-
lustrated, 12mo. Harper & Brothers. 60 cts.
Miscellaneous Stories for Girls.
Mary Ware's Promised Land. By Annie Fellows
Johnston. 12mo. ''Little Colonel Series," L. C.
Page & Co. $1.50.
Every-Day Susan. Bv Mary F. Leonard. Illus-
trated, 12mo. Thomas Y. Crowell Co. $1.50.
Six Girls Grown Up. By Marion Ames Taggart.
Illustrated, 12mo. Boston: W. A. Wilde Co.
$1.50.
The Lady of the Lane. By Frederick Orin Bart-
lett. Illustrated, 12mo. Century Co. $1.25 net.
Molly and Margaret. By Pat; with Introduction
by W. H. Hudson. Illustrated in color, etc.,
]2mo. Longmans, Green & Co. $1.25 net.
A Dixie Rose in Bloom. By Augusta Kortrecht.
With frontispiece in color, 12mo. J. B. Lippin-
cott Co. $1.25 net.
The Secret of the Clan. By Alice Brown. Illus-
trated, 12mo. Macmillan Co. $1.25 net.
Betty-Bide-at-Home. Bv Beulah Marie Dix. Illus-
trated, 12mo. Henry "Holt & Co. $1.25 net.
Sweethearts at Home. By S. R. Crockett. Illus-
trated in color, 8vo. F. A. Stokes Co. $1.25 net.
Uncle Peter Heathen. By Emilie Blackmore Stapp.
Illustrated in color, 12mo. Philadelphia: David
McKay. $1.25.
Helen over the Wall: The Adventure with the
Fairy Godmother. By Beth Bradford Gilchrist.
Illustrated, 12mo. Penn Publishing Co. $1.20 net.
How Phoebe Found Herself: A Story for Girls. By
Helen Dawes Brown. With frontispiece. 12mo.
Houghton Mifflin Co. $1.15 net.
Faith Palmer at the Oaks. By Lazalle T. Wool-
ley. Illustrated, 12mo. Penn Publishing Co.
$1. net.
The Little Runaways at Home. By Alice Turner
Curtis. Illustrated, 12mo. Penn Publishing Co. $1.
Grandpa's Little Girls Grown Up. By Alice Tur-
ner Curtis. Illustrated, 12mo. Penn Publishing
Co. $1.
A Dear Little Girl's Thanksgiving Holidays. By
Amy E. Blanchard. Illustrated, 12mo. George W.
Jacobs & Co. $1. net.
Nobody's Rose; or, The Girlhood of Rose Shannon.
Illustrated, 12mo. Lothrop, Lee & Shepard Co.
$1. net.
The S. W. F. Club. By Emilia Elliott. Illustrated,
12mo. George W. Jacobs & Co. $1. net.
Pbincess Rags and Tatters. By Harriet T. Corn-
stock. Illustrated in color, 12mo. Doubleday,
Page & Co. 75 cts. net.
Dorothy Dainty's Holidays. By Amy Brooks. Il-
lustrated, 12mo. Lothrop, Lee & Shepard Co. $1.
Little Queen Esther. By Nina Rhoades. Illus-
trated, 12mo. Lothrop, Lee & Shepard Co. $1.
Theib City Chbistmas. By Abbie Farwell Brown.
Illustrated, 12mo. Houghton Mifflin Co. 75 cts. net.
Rowena's Happy Summeb. By Celia Myrover Rob-
inson. Illustrated in color. 12mo. Rand, Mc-
Nally & Co. 60 cts. net.
Letty's Sisteb. By Helen Sherman Griffith. Illus-
trated, 12mo. Penn Publishing Co. 60 cts.
History and Biography.
A Histoby of Fbance. By H. E. Marshall. Illus-
trated in color, large 8vo. George H. Doran Co.
$2.50 net.
Heroes and Heroines of English History. By
Alice S. Hoffman. Illustrated in color, 8vo. E. P.
Dutton & Co. $2.50 net.
The Book of Saints and Heroes. By Mrs. Lang;
edited by Andrew Lang. Illustrated in color, etc.,
by H. J. Ford, 8vo. Longmans, Green & Co.
$1.60 net.
Sir Walter Raleigh. By John Buchan. Illustrated
in color, 8vo. Henry Holt & Co. $2. net.
True Tales of Arctic Heroism in the New World.
By Major-Gcneral A. W. Greely, U. S. Army. H-
lustrated, 8vo. Charles Scribner's Sons. $1.50 net.
Brave Deeds of American Sailors. By Robert B.
Duncan. Illustrated, 8vo. George W. Jacobs Co.
$1.50 net.
The Boys' Nelson. By Harold F. B. Wheeler. Illus-
trated, 8vo. Thomas Y. Crowell Co. $1.50 net.
Saints and Heroes since the Middle Ages. By
George Hodges. Illustrated, 12mo. Henrv Holt &
Co. $1.35 net.
Shakespeare's Stories of the English Kings.
Retold by Thomas Carter. Illustrated in color,
Svo. Thomas Y. Crowell Co. $1.50 net.
Story-Lives of Oub Great Artists. By Francis
Jameson Rowbotham. Illustrated in color, etc.,
8vo. F. A. Stokes Co. $1.35 net.
Storiks from Italian History. Bv G. E. Trout-
beck. Illustrated, 12mo. F. A. Stokes Co. $1.30 net.
The Knights of the Golden Spur. By Rupert Sar-
gent Holland. Illustrated. 12mo. Century Co.
$1.25 net.
With Carson and Fremont. By Edwin L. Sabin.
Illustrated in color, etc. J. B. Lippincott Co.
$1.25 net.
John and Betty's Scotch History Visit. By Mar-
garet Williamson. Illustrated, 12mo. Lothrop,
Lee &. Shepard Co. $1.25.


1912.]
459
THE
DIAL,
The Queen's Stoby Book: Historical Stories Pic-
turing the Reigns of English Monarchs. Edited
by Sir George Laurence Gorame. New editions
illustrated in color, 12mo. Longmans, Green & Co.
$1.25 net.
The Wonder-Wobkebs. By Mary H. Wade. Illus-
trated, 12mo. Little, Brown & Co. $1. net.
Stories of the Pilgrims. By Margaret B. Pumph-
rey. Illustrated in color, etc., 12mo. Band, Mc-
Nally & Co. $1. net.
The English Histoby Story-Book. By Albert F.
Blaisdell and Francis K. Ball. Illustrated, 12mo.
Little, Brown & Co. 75 cts.
How England Gbew Up. By Jessie Pope. Illus-
trated in color, 18mo. Houghton Mifflin Co.
75 cts. net.
Stories from Old English Romance. By Joyce
Pollard. 12mo. F. A. Stokes Co. 75 cts. net.
Indian Sketches: Pere Marquette and the Last of
the Pottawatomie Chiefs. By Cornelia Steketee
Hulst. Illustrated in color, etc., 12mo. Long-
mans, Green & Co. 60 cts. net.
The Children of History. By Mary S. Hancock.
Early Times (B. U 800 to A. D. 1000); Later
Times (A. D. 1000 to 1910). Each illustrated in
color, etc., 12mo. Little, Brown & Co. Per vol-
ume, 60 cts. net.
Life Stories for Young People. Translated from
the German by George P. Upton. New volumes:
Ulysses of Ithaca, by Karl Friedrich Becker;
Stanley's Journey, by Richard Roth; Gods and
Heroes, by Ferdinand Schmidt and Carl Friedrich
Becker; Emin Pasha, by M. C. Plehn; Achilles,
by Carl Friedrich Becker; The Argonautic Expe-
dition and The Labors of Hercules; David Living-
stone, by Gustav Plieninger; General ("Chinese")
Gordon, the Christian Hero, by Theodore KUbler.
Each illustrated, 16mo. A O. McClurg & Co.
Per volume, 50 cts. net.
Tales from Literature and Folk-Lore.
Bold Robin Hood, and His Outlaw Band; Their
Famous Exploits in Sherwood Forest. Penned
and pictured by Louis Rhead. 8vo. Harper &
Brothers. $1.50.
The Sampo: Hero Adventures from the Finnish
Kalevala. Illustrated in color by N. C. Wyeth,
8vo. Charles Scribner's Sons. $2. net.
Legends of Oub Little Brothers: Fairy Lore of
Bird and Beast. Retold by Lilian Gask. Illus-
trated, 12mo. Thomas Y. Crowell Co. $1.50.
Caravan Tales, and Some Others. By Wilhelm
HaufT; freely adapted and retold by J. G. Horn-
stein. Illustrated in color by Norman Ault, 8vo.
F. A. Stokes Co. $1.35 net.
Jataka Tales. Re-told by Ellen C. Babbitt. Illus-
trated, 12mo. Century Co. $1. net.
Scott Retold for Young People. By Alice F.
Jackson. New volumes: Redgauntlet; The For-
tunes of Nigel. Each illustrated in color. George
W. Jacobs & Co. Per volume, 75 cts. net.
The Children's Longfellow. Stories from the
poet's works told by Alice Massie. Illustrated in
color, etc., 8vo. George H. Doran Co. 75 cts.
Nature and Out-Door Life.
The Book of Baby Birds. Pictures in color by E.
J. Detmold; descriptions by Florence E. Dugdale.
Large 4to. George H. Doran Co. $2.50 net.
Shagoycoat: The Biography of a Beaver. By Clar-
ence Hawkes. Illustrated, 12mo. George W. Ja-
cobs & Co. $1.50.
Piebald, King of Bronchos: The Biography of a
Wild Horse. By Clarence Hawkes. Illustrated,
12mo. George W. Jacobs & Co. $1.50.
The Little King and the Princess True. By
Mary Earle Hardy. Illustrated, 8vo. Rand, Mc-
Nally & Co. $1.25.
Frank and Bessie's Forester. By Alice Louns-
berry. Illustrated in color, etc., 12mo. F. A.
Stokes Co. $1.25 net.
Mother West Wind's Animal Fbiends. By Thorn-
ton W. Burgess. Illustrated, 12mo. Little, Brown
& Co. $1.
Tame Animals I Have Known. By William J.
Lampton. 12mo, 150 pages. Neale Publishing Co.
75 cts. net.
Chebby Tree Children. By Mary Frances Blais-
dell. Illustrated in color, 12mo. Little, Brown
& Co. 60 cts.
More Little Beasts of Field and Wood. By Wil-
liam Everett Cram. Illustrated, 12mo, 303 pages.
Small, Maynard & Co.
The Magic Speech Flower; or, Little Luke and
His Animal Friends. By Melvin Hix. Illustrated,
12mo. Longmans, Green & Co. 35 cts. net.
Fairy Tales and Legends.
Russian Wonder Tales. With a Foreword on the
Russian Skazki by Post Wheeler, Litt.D. Illus-
trated in color, 8vo. Century Co. $2.50 net.
Bee, the Princess of the Dwarfs. By Anatole France.
Retold in English by Peter Wright; illustrated in
color by Charles Robinson, 8vo. E. P. Dutton 4
Co. $2.50 net.
Jolly Calle, and Other Swedish Fairy Tales. Com-
piled by Helena Nyblom. Illustrated in color. E.
P. Dutton & Co. $2.50.
The Fairy of Old Spain. By Mrs. Rodolph Stawell.
Illustrated in color, etc. E. P. Dutton & Co.
$1.50 net.
The Fir-Tree Fairy Book: Favorite Fairy Tales.
Edited by Clifton Johnson. Illustrated in color
by Alexander Popini, 8vo. Little, Brown &. Co.
$1.50.
The English Fairy Book. By Ernest Rhys. Illus-
trated in color, etc., 8vo. F. A. Stokes Co. $1.35 net.
The Mermaid's Gift, and Other Stories. By Julia
Brown. Illustrated in. color by Maginel Wright
Enright, large 8vo. Rand, McNally & Co. $1.25.
Once Upon a Time Tales. By Mary Stewart; with
Introduction by Henry van Dvke. Illustrated,
12mo. Fleming H. Revell Co. $1.25 net.
Wonder Tales of Old Japan. By Alan Leslie White-
horn. Illustrated in color by Shozan Obata, 8vo.
F. A. Stokes Co. $1.25 net.
In the Green Forest. Written and illustrated by
Katharine Pyle. 12mo. Little, Brown A Co.
$1.20 net.
Indian Fairy Tales. By Lewis Allen. 12mo. John
W. Luce & Co. $1. net.
Old Favorites in New Form.
All the Tales from Shakespeare. By Charles and
Mary Lamb and H. S. Morris. In 2 volumes; illus-
trated in color, 8vo. J. B. Lippincott Co. $3.50 net.
Gulliver's Voyages to Lilliput and Brobdignao.
By Jonathan Swift. Illustrated by P. A. Staynes,
8vo. Henry Holt & Co. $2.25 net.
Mrs. Leicester's School. Written by Charles and
Mary Lamb, and illustrated by Winifred Green.
Illustrated in color, 8vo. E. P. Dutton & Co.
$1.60 net.


460
[Dec. 1,
THE DIAL
Little Women. By Louisa M. Alcott. Illustrated,
12mo. "Players' Edition." Little Brown & Co.
$1.50 net.
Froissart's Chronicles. Retold for young people
from Lord Berners' translation, by Madalen Edgar.
Illustrated in photogravure, 8vo. Thomas Y.
Crowell Co. $1.50 net.
Aesop's Fables. A New Translation by V. S. Ver-
non Jones, with Introduction by G. K. Chesterton.
Illustrated in color, etc., by Arthur Rackham,
8vo. Boubleday, Page & Co. $1.50 net.
Christmas Tales and Chbistmas Vebse. By Eugene
Field. Illustrated in color, etc., by Florence
Storer, 8vo. Charles Scribner's Sons. $1.50 net.
Histobic Poems and Ballads. Described by Rupert
S. Holland. Illustrated, 8vo. George W. Jacobs
& Co. $1.50 net.
The Childben's Own Longfellow. Illustrated in
color, 8vo. Houghton Mifflin Co. $1.25 net.
Motheb Goose in Holland. Illustrated in color, etc.,
by May Audubon Post. 4to. George W. Jacobs &
Co. $1.25.
Gulliver's Travels. By Jonathan Swift, edited by
Anna Tweed. Illustrated in color, 12mo. Double-
day, Page & Co. $1.20 net.
The Birds' Christmas Carol. By Kate Douglas
Wiggin. New holiday edition, revised by the au-
thor, and illustrated in color by Katharine R.
Wireman. Houghton Mifflin Co. $1. net.
The Boys' Parkman: Selections from the Historical
Works of Francis Parkman. Compiled by Louise
S. Hasbrouck. Illustrated, 12mo. Little, Brown
& Co. $1. net.
'Twas the Night befobe Chbistmas: A Visit from
St. Nicholas. By Clement C. Moore. Illustrated in
color by Jessie Willcox Smith, 8vo. Houghton Mif-
flin Co. $1. net.
Alice's Adventubes in Wondebland, and Throuqh
the Looking Glass. By Lewis Carroll. Illustrated
in color by Elenore Plaisted Abbott, 12mo. George
W. Jacobs & Co. $1. net.
The Golden Touch. Told to the children by Na-
thaniel Hawthorne. Illustrated in color by Patten
Wilson, 8vo. Houghton Mifflin Co. 60 cts. net.
The Gorgon's Head. Told to the children by Na-
thaniel Hawthorne. Illustrated in color by Patten
Wilson, 8vo. Houghton Mifflin Co. 60 cts. net.
Mother Goose Stories. Illustrated in color by
Blanche Fisher Wright. New volumes: Old
Mother Hubbard; Old King Cole. 4to. Rand, Mc-
Nally & Co. Each, 25 cts.
Life in Other Lands.
Boys of Other Countries. By Bayard Taylor. En-
larged edition, including "The Robber Region of
Southern California." Illustrated in color, etc.,
8vo. G. P. Putnam's Sons. $2. net.
The Four Cobnebs in Japan. By Amy E. Blanch-
ard. Illustrated, 12mo. George W. Jacobs & Co.
$1.50.
Adventubes in Southebn Seas: Stirring Stories of
Adventure among Savages, Wild Beasts, and the
Forces of Nature. By Richard Stead, F. R. Hist. S.
Illustrated, 8vo. J. B. Lippincott Co. $1.50 net.
When Motheb Lets us Tbavel in France. By Con-
stance Johnson. Illustrated, 12mo. Moffat, Yard
& Co. $1. net.
Bud and Bamboo. By John Stuart Thomson. Illus-
trated, 12mo. D. Appleton 4 Co.
Little People Everywhere. New volumes: Donald
in Scotland and Josefa in Spain, by Etta Blais-
dell McDonald and Julia Dalrymple. Each illus-
trated in color, etc. Little, Brown & Co. Per
volume, 60 cts.
The Realm of Work and Play.
The Boy's Playbook of Science. By John Henry
Pepper; revised, rewritten, and reillustrated, with
many additions, by John Mastin, Ph.D. Illus-
trated, 8vo. E. P. Dutton & Co. $2.50 net.
The Boy's Book of New Inventions. By Harry E.
Maule. Illustrated, 8vo. Doubleday, Page & Co.
$1.60 net.
Boys' Make-at-Home Things. By Carolyn Sherwin
Bailey and Marian Elizabeth Bailey. Illustrated,
12mo. F. A. Stokes Co. $1.25 net.
Girls' Make-at-Home Things. By Carolyn Sher-
win Bailey. Illustrated, 12mo. F. A. Stokes Co.
$1.25 net."
Floor Games. By H. G. Wells. Illustrated, 8vo.
Small, Maynard & Co. $1. net.
The Mary Frances Cook Book; or, Adventures
among the Kitchen People. By Jane Eayre Fryer.
Illustrated in color, large 8vo. John C. Winston
Co. $1.20 net.
Training the Little Home-Makeb by Kindergarten
Methods. By Mabel Louise Keech, A.B. Illus-
trated, large 8vo. J. B. Lippincott Co.
Housekeeping fob Little Girls. Bv Olive Hyde
Foster. Illustrated, 12mo. Duffield & Co.
75 cts. net.
Work and Play for Little Girls. By Hedwig
Levi. Illustrated, 12mo. Duffield & Co. 75 cts. net.
The Story of Lumber. By Sara Ware Bassett. Illus-
trated, 12mo. Penn Publishing Co. 75 cts. net.
Some Little Cooks and What They Did. Edited
by Elizabeth Hoyt. Illustrated, 12mo. W. A.
Wilde & Co. 50 cts. net.
Pictures, Stories, and Verses for the
Little Tots.
Billy Popgun. By Milo Winter. Illustrated in
color by the author. 4to. Houghton Mifflin Co.
$2. net.
The Peek-a-Boos at Play. By Chios Preston. Illus-
trated in color, large 4to. George H. Doran Co.
$2.50 net.
The Bio Book of Fables. Edited by Walter Jer-
rold. Illustrated in color, etc., by Charles Robin-
son, large 8vo. H. M. Caldwell Co. $2.50.
Merry and Bright. By Cecil Aldin. Illustrated
in color, large 4to. George H. Doran Co. $2. net.
The Fairies and the Christmas Child. By Lillian
Gask. Illustrated in color, etc., 8vo. Thomas Y.
Crowell Co. $2. net.
The Rocket Book. By Peter Newell. Illustrated
in color, 8vo. Harper & Brothers. $1.25 net.
The Kewpies and Dotty Darling. Verse and Pic-
tures by Rose O'Neill. 4to. George H. Doran Co.
$1.25.
Caldwell's Boys' and Girls' at Home. Illustrated
in color, etc., 4to. H. M. Caldwell Co. $1.25.
Jolly Mother Goose Annual. Illustrated in color,
etc., by Blanche Fisher Wright. Rand, McNally &
Co. $1.25.
The Japanese Twins. Written and illustrated by
Lucy Fitch Perkins. 8vo. Houghton Mifflin Co.
$1. net.
The Mongrel Puppy Book. By Cecil Aldin. Illus-
trated in color, 4to. George H. Doran Co. 75 cts.


1912.]
461
THE
Old Rhymes with New Tunes. Composed by Rich-
ard Runciman Terry. Illustrated by Gabriel Pip-
pet, 4to. Longmans, Green & Co. 80 cts. net.
The Deserted Lake; or, The Dragon That Could
not Eat Fish. By Ernest T. Burges. Illustrated
by Dorothea T. Burges, large 8vo. Longmans,
Green & Co. 75 eta. net.
When Christmas Came too Eably. By Mabel Ful-
ler Blodgett. Illustrated, 12mo. Little, Brown &
Co. 76 cts. net.
The Turkey Doix. By Josephine Scribner Gates.
Illustrated in color, etc., 12mo. Houghton, Mifflin
Co. 75 cts. net.
A Christmas Party fot Santa Claus. By Ida M.
Huntington. Illustrated in color, etc., large 8vo.
Rand, McNally & Co. 75 cts.
The Complete Optimist. By Childe Harold. Illus-
trated, 12mo. E. P. Dutton & Co. 60 cts. net.
The Story or the Discontented Little Elephant.
Told in Pictures and Rhyme by E. OE. Somer-
ville. Illustrated in color, etc., 8vo. Longmans,
Green & Co. 60 cts. net.
The Bunnikin-Bunnies and the Moon Kino. By
Edith B. Davidson. Illustrated in color, etc., lCmo.
Little, Brown & Co. 50 cts. net.
Good Books of All Sorts.
Bill the Minder. Written and illustrated by W.
Heath Robinson. Illustrated in color, etc., large
8vo. Henry Holt &, Co. $3.50 net.
Best Stories to Tell to Children. By Sara Cone
Bryant. Illustrated in color, 8vo. Houghton Mif-
flin Co. $1.50 net.
This Year's Book fob Boys. By various authors.
Illustrated in color, etc., 4to. George H. Doran Co.
$1.50 net.
The Castle of Zion: Stories from the Old Testa-
ment. By George Hodges. Illustrated, 8vo.
Houghton Mifflin Co. $1.50 net.
Prayers fot Little Men and Women. By "John
Martin." Illustrated in color, 12mo. Harper &
Brothers. $1.25 net.
Chatterbox fob 1912. Illustrated in color, etc.,
large 8vo. Dana Estes & Co. $1.25.
Sunday Reading for the Young. Illustrated in color,
etc., large 8vo. Dana Estes & Co. $1.25.
Chats with Children of the Church. By James
M. Farrar, LL.D. 12mo. Funk & Wagnalls Co.
$1.20 net.
Next-Night Stories. By Clarence Johnson Messer.
Illustrated, 12mo. Lothrop, Lee & Shepard Co.
$1. net.
The Admibal's Little Companion. By Elizabeth
Lincoln Gould. Illustrated, 12mo. Penn Publish-
ing Co. $1.
A Life of Christ for the Young. By George Lud-
ington Weed. Illustrated in color, etc., 8vo. George
W. Jacobs & Co. $1. net.
The Stalwarts: How Oxford Students Stood for
Protestantism. By Frank E. Channon. With
frontispiece in color, 12mo. New York: American
Tract Society. 50 cts. net.
Little Peter Pansy. By Carro Frances Warren.
Illustrated, 12rao. Philadelphia: David McKay.
50 cts.
Quaint Old Stories to Read and Act. By Marion
Florence Lansing, M.A. Illustrated, 12mo. "Open
Road Library." Ginn & Co. 35 cts.
After Long Years, and Other Stories. Transla-
tions from the German by Sophie A. Miller and
Agnes M'. Dunne. Illustrated, 12mo. "Sunshine
and Shadow Series." A. S. Barnes Co.
Notes.
Mr. Reginald Wright Kauffman has now nearly
completed a new novel, to be entitled "Judith Kent,
Freewoman."
'«' Bunker Bean " is the title of Mr. Harry Leon Wil-
son's new novel, which Messrs. Doubleday, Page & Co.
will publish in January.
"John, Jonathan and Company," by Mr. James Milne,
being an Englishman's impressions of America, will be
published at once by the Macmillan Co.
Dr. Charles F. Thwing, president of Western Reserve
University, has made a thorough revision of his work,
"The Family," which will be published early next year
by Lothrop, Lee & Shepard Co.
We learn from Mr. Manly's Introduction to the new
collected edition of the work of William Vaughn Moody
that a volume of Moody's letters is soon to be published,
"under the care of one of his most intimate friends."
"Mr. Achilles" by Mrs. Jeunette Lee, recently
brought out in book form by Messrs. Dodd, Mead & Co.,
is to be published shortly in an edition for the blind. Mrs.
Lee's previous stories, "Uncle William " and "Happy
Island," have also been brought out in this way.
Two important volumes on opposite sides of the
Home Rule Question, to be issued immediately by
Messrs. E. P. Dutton & Co., are "Aspects of Home
Rule," a collection of speeches by the Right Hon. A. J.
Balfour; and "Dublin Castle and the Irish People,"
by Mr. Barry O'Brien.
Sophie Swett, a talented writer of children's books,
died on November 12 at Arlington Heights, Mass. She
was at one time associate editor of "Wide Awake," a
prominent children's magazine of a generation ago, and
is the author of some forty books for young people.
Still another effort toward solving the "Edwin Drood"
mystery has been made, this time by Sir W. Robertson
Nicoll, whose contribution to the subject will be published
by the George H. Doran Co. under the title "The Prob-
lem of Edwin Drood: A Study in the Methods of Charles
Dickens."
"The Happy Warrior" is the title of a new novel
by Mr. A. S. M. Hutchinson, author of " Once Aboard
the Lugger," which Messrs. Little, Brown & Co. will
publish in January. This house has also in press
for January publication "Joyful Heatherby " by Mrs.
Payne Erskine, and "The Little Gray Shoe "by Mr.
Percy J. Brebner.
The many teachers and others who followed with
interest the newspaper reports of the lectures given at
the Columbia Summer School this year by Dr. W. H. D.
Rouse, the well-known English classicist, will be inter-
ested in knowing that Dr. Rouse's three elementary
Greek books, "A First Greek Course," "A Greek
Reader," and " A Greek Boy at Home," have been pub-
lished in the United States by Charles E. Merrill Com-
pany, by arrangement with Messrs. Blackie & Son, the
English publishers.
An opportunity for ambitious young essayists to try
their pens on a subject worthy of their best efforts is
extended by the Lake Mohonk Conference on Interna-
tional Arbitration, which offers a prize of one hundred
dollars for the best essay by an undergraduate male
student of any college or university in the United States
or Canada, on "International Arbitration." Essays
should not exceed five thousand words in length, and it
is preferred that they be typewritten. An understand-


462
[ Dec. 1,
THE
DIAL
ing of the nature and history of international arbitration,
and of the Hague Conference and Court, must be shown
by the writer. The contest closes the fifteenth of next
March. Further particulars will be furnished upon ap-
plication by Mr. H. C. Phillips, secretary, Mohonk Lake,
Ulster County, N. Y.
The lectures delivered at Columbia University last
spring by Sir Gilbert Murray, Regius Professor of
Greek in Oxford University, will be published this
month by the Columbia University Press, under the title
"Four Stages of Greek Religion." The Press also an-
nounces for immediate publication " Literary Influences
in Colonial Newspapers, 1704-1750," by Elizabeth
Christine Cook, Ph.D.
M. Romain Rolland is just finishing his " Jean Chris-
tophe " and intends to entitle the last of the ten volumes
of the French edition "La Fin du Voyage." He had
earlier thought of calling that volume "Une Nouvelle
Join-ne'e." The concluding volume, which Messrs. Holt
will issue simultaneously with Mr. Heinemann, in
London, will contain the last three volumes of the
French edition, and is likely to appear in February.
Professor W. H. Schofield, Harvard Exchange Pro-
fessor at the University of Paris in 1911, has prepared
for publication a series of lectures which he delivered
at the Sorbonne and at the University of Copenhagen.
The volume will be entitled " Chivalry in English Litera-
ture " and will trace the growth of the ideal of chivalry
as it is illustrated in the works of Chaucer, Malory,
Spenser, and Shakespeare. The book is announced for
immediate publication by Harvard University.
In the sudden death, on November 25, of Frank Hall
Scott, president of The Century Co., the American pub-
lishing trade loses one of its ablest and most energetic
members. Mr. Scott was born in Terre Haute, Indiana,
in 1848. He entered the office of " Scribner's Monthly"
in 1870, and in 1893 became president of The Century
Co., which position he has held since that time. A prom-
inent member of the American Publishers Association,
he has been active in all good works having the better-
ment of the book trade for their object. His frequent
visits to London gaye him opportunity for personal ac-
quaintance with the foremost writers and artists of his
day, by whom he was held in affectionate regard.
The passing of a famous publisher is noted with
regret in the recent death of William Blackwood, grand-
Bon of the founder of the house of William Blackwood
and Sons, and a man so well known among writers and
with so many memorable experiences to record in his
diary (if he kept one, as is now hoped to have been the
case) that a volume of very readable reminiscences ought
to be forthcoming at the hands of his literary executor.
His success with the magazine that came into his hands
with his assumption of the management of the business
a generation ago was not the least of his triumphs.
41 Blackwood's " is an object of especial interest to us
by reason of its having served as a model for our fore-
most literary monthly when Lowell and Fields were
planning that noteworthy undertaking more than half a
century ago, and both magazines have had to contend
with the difficulties arising from the recent remarkable
vogue of the low-priced illustrated monthly. The late
Mr. Blackwood was a man of culture, educated at
Glasgow University, the Sorbonne, and Heidelberg, aud
was esteemed an accomplished letter-writer by his cor-
respondents. A selection from his letters, if nothing
more, ought to be given to the public at an early date.
Toi'ics ix Leading Periodicals.
December, 1912.
Advertising:, A Revolution in. Elizabeth C. Billings. Atlantic.
Alaska, Alone across. G. F. Waugh . . World's Work.
American College, Function of the. A. K.
Rogers Popular Science.
Andersen, Hans Christian, and His Tales. Georg
Brandes Bookman.
Anger, The Price of. EUwood Hendrick . . . Atlantic.
Arctic, My Quest in the. Vilhjalmur Stefansson. Harper.
Balkan Situation, The. Svetozar Tonjoroff and
Stephen Bonsai North American.
Balkans, The Militant Democracy of the. Albert
Sonnichsen Review of Reviews.
Barley, The, that Encompassed the Earth. F. B.
Stockbridge World's Work.
Bergson, Henri. Alvan S. Sanborn Century.
Birds, Government Protection of. George
Gladden Review of Reviews.
Books, On the Selling of. R. S. Yard .... Bookman.
Burns of the Mountains. Emerson Hough . . American.
Calendar, Reforming the. Oberlin Smith . Pop. Science.
Candlemas. Harriet M. Kilburn American.
Children in Fiction. Richard Le Gallienne . . . Harper.
Christmas Good Fellows. Clifford Raymond . American.
Christmas Voyage and Picture Gallery. Algernon
Tassin Bookman.
Coal Monopoly, The. L. L. Redding . . . Everybody's.
College Women, Exclusiveness among. Edith
Rickert Century.
Cordova and the Way There. W. D. Howells . . Harper.
Debt, Dangers of Our Growing. C.W.Baker. World's Work.
Dedication, The New Order of. Edna Kenton. Bookman.
Dollar Mark, Evolution of the. Florian Cajori. Pop. Science.
Exploring Other Worlds—I. W. B. Hale. World's Work.
Eucken, Germany's Inspired Idealistic Philosopher.
Thomas Seltzer Review of Reviews.
Films, Fortunes in — II. Bennet Musson and
Robert Grau McClure.
Flight, My First. H. G. Wells American.
Forestry, Practical. C. C. Andrews. . . Popular Science.
France's Way of Choosing a President. Andrg
Tridon Review of Reviews.
Friendship, The Excitement of. R. S. Bourne . Atlantic.
German Political Parties and the Press. PriceCollier. Scribne .
Gold, Turning Boulders into. A. L. Dahl. World's Work.
Gunnery, American. Robert Neeser . . North American.
Hand of the World. Helen Keller American.
Hsnkin, St. John. John Drinkwater Forum.
High Cost of Living, The. Irving Fisher. North American.
Human Wear and Tear. S. H. Wolfe . . . Everybody's.
Hungry Generations. W. M. Gamble Atlantic.
Individual and Social Surplus, Genesis of. A. A.
Tenney Popular Science.
Industry, The Captain of. Holland Thompson. Rev. of Revs.
Insects as Agents in the Spread of Disease. C. T.
Brnes Popular Science.
Insurance for Workingmen. B. J. Hendrick . . McClure.
Irish Poets, A Group of—II. Michael Monahan . Forum.
Jerusalem, Christian Worship in. T. E. Green . Century.
Johnson, Andrew, Impeachment of. H. G. Otis . Century.
Labor, The Battle Line of — II. S. P. Orth. World's Work.
Labor, The Philosophy of. W. M. Urban . . . Atlantic.
Longstreet, James. Gamaliel Bradford, Jr.. . . Atlantic.
Loti, Pierre — Academician. A. B. Maurice . . Bookman.
Lowell, James Russell, C. E. Norton's Letters to. Atlantic.
Mediterranean, The Crisis in the. Roland G. Usher. Forum.
Meredith, George, Conversations with. J. P.
Collins North American.
Meredith, George, Letters of. Darrell Figgis. No. Amer.
Mission, The Inasmuch. Blair Jaekel. . . World's Work.
New York Newsboy, The. Jacob A. Riis . . . Century.
New York Policeman, Diary of a. A. H. Lewis . McClure.
North America and France — II. G. Hanotaux. No. Amer.


1912.]
4G3
THE DIAL
Numerals, Hindu-Arabic. E. R. Turner. Popular Science.
Panama Canal Zone, The. Farnham Bishop . . . Century.
Poetry, Contemporary, A Note on. H. Hagedorn. No. Amer.
Prayer, The Evolution of. Ellen Burns Sherman. No. Amer.
Presidential Preference Vote, A, and the Electoral
College. John W. Holcombe Forum.
Prices, Rising, and the Public. John Bauer. Pop. Science.
Race-Culture. Simeon Strunsky Atlantic.
Railways, Drift toward Government Ownership
of. B. L. Winchell Atlantic.
Rnbenstein, Recollections of. Lillian Nichia . . Harper.
Russia, The Trade of. J. D. Whelpley .... Century.
Scandinavian Painters of To-day. C. Brinton . . Scribner.
Science, The New. S. G. Smith Atlantic.
Selling, High Cost of. B. F. Yoakum . . World's Work.
Short Story, How to Write a. Robert Barr . . Bookman.
Socialism, English, The Set-Back to. G. K.
Chesterton Century.
Statesmanship and the Universities. C. C. Hall. . Forum.
Stock Gambledom. Thomas W. Lawson . . Everybody's.
Swinburnian Hoax, The Great Bookman.
Theatre, Children and the. Walter P. Eaton . American.
Tolstoy and Rockefeller. Maximilian Harden . Bookman.
Valentine, Basil. J. M. Stillman . . . Popular Science.
Vitalism, The New. John Burroughs . North A merican.
Votes for Three Million Women. Ida Harper. Rev. of Revs.
War, Perennial Bogey of. David S. Jordan. World's Work.
Wilderness, The Plnnge into the. John Muir . Atlantic.
Woman, Good Will to. Ida M. Tarbell . . . American.
Women —III. Mabel P. Daggett . . . World's Work.
Women, The New Mohammedan. Saint Nihal
Singh Review of Reviews.
List of New Books.
[The following list, containing 204 titles, includes books
received by The Dial since its last issue.]
HOLIDAY GIFT BOOKS.
The Complete Poetical Work* of Geoffrey Chancer,
Now First Put into Modern English by John S. P.
Tatlock and Percy MacKaye. Illustrated in color
by Warwick Goble, large 8vo, 607 pages. "Mod-
ern Reader's Chaucer." Macmillan Co. $5. net.
Homer*! Odysseyi A line-for-llne translation In the
metre of the original by H. B. Cotterill, M.A.
Illustrated by Patten Wilson, large 4to, 33E
pages. Dana Estes & Co. $5.50 net.
The Episodes of Vathek. By William Beckford;
translated by Sir Frank T. Marzials, with Intro-
duction by Lewis Melville. With photogravure
portrait, large 8vo. J. B. Llppincott Co. $5. net.
The Bells and other Poems. By Edgar Allan Poe.
Illustrated in color by Edmund Dulac, 4to. George
H. Doran Co. $5. net.
South America. Painted by A. S. Forrest and De-
scribed by W. H. Koebel. Illustrated in color,
Svo, 230 pages. Macmillan Co. $5. net.
The Colonial Homes of Philadelphia and Its Neigh-
borhood. By Harold Donaldson Eberlein and
Horace Mather Lippincott. Illustrated, large 8vo,
366 pages. J. B. Lippincott Co. $5. net.
A Book of Hand-Woven Coverlets. By Eliza Calvert
Hall. Illustrated in color, etc., 8vo, 279 pages.
Little, Brown & Co. $4. net.
Dancing and Dancer* of Todayi The Modern Revival
of Dancing as an Art. By Caroline and Charles
H. Coffin. Illustrated large 8vo, 301 pages. Dodd,
Mead & Co. $4. net.
Kim. By Rudyard Kipling. Holiday edition, illus-
trated in color from bas-reliefs by John Lock-
wood Kipling. Large 8vo, 335 pages. Double-
day, Page & Co. $3.50 net.
English and Welsh Cathedral*. By Thomas Dinham
Atkinson. Illustrated in color, etc., 8vo, 370
pages. Little, Brown & Co. $3.50 net.
A Camera Crusade through the Holy Land. By
Dwight L. Elmendorf. Illustrated, large 8vo.
Charles Scribner's Sons. $3. net.
The Art Treasures of Washington. By Helen W.
Henderson. Illustrated, 8vo, 398 pages. L C.
Page & Co. $3. net.
She Stoops to Conquers or, The Mistakes of a Night.
By Oliver Goldsmith. Illustrated in color by
Hugh Thomson, 4to, 198 pages. George H. Doran
Co. $5. net.
Monaco and Monte Carlo. By Adolphe Smith. Illus-
trated in color, etc., by Charles Maresco Pearce,
large, 8vo, 477 pages. J. B. Lippincott Co.
$4.50 net.
Shakespeare's Tragedy of Romeo and Juliet. Illus-
trated in color by W. Hatherell, large 8vo, 207
pages. George H. Doran Co. $5. net.
Old Time Belles and Cavaliers. By Edith Tunis Sale.
Illustrated in color, etc., large 8vo, 286 pages.
J. B. Lippincott Co. $5. net.
Memories of President Lincoln. By Walt Whitman.
With photogravure portrait; printed on Italian
hand-made paper, with old-style olive green
Fabrlano boards. 4to. Thomas B. Mosher. $3. net.
The Broad Highway. By Jeffery Farnol. Holiday
edition, illustrated In color by C. E. Brock. 8vo,
518 pages. Little, Brown & Co. $3. net.
Oar House and London out of Our Windows. By
Elizabeth Robins Pennell. Illustrated by Joseph
Pennell, 8vo, 373 pages. Houghton Mifflin Co.
$2.50 net.
Fifty Water-Colonr Drawings of Oxford. Repro-
duced In color, with brief descriptive notes, by
Edward C. Alden. Large 8vo. Dana Estes & Co.
$2.50 net.
Oar Country Life. By Frances Kinsley Hutchinson.
Illustrated, 8vo, 312 pages. A. C. McClurg & Co.
$2. net.
The Shadow of the Flowerst From the Poems of
Thomas Bailey Aldrich. Illustrated by Talbot
Aldrich and Carl J. Nordell, 8vo. Houghton Mif-
flin Co. $2. net.
The Cities of Lombardy. By Edward Hutton. Illus-
trated In color, etc., 12mo, 322 pages. Macmillan
Co. $2. net.
The Art of the UfBzl Palace and the Florence Acad-
emy. By Charles C. Heyl. Illustrated, 12mo, 364
pages. L C. Page & Co. $2. net.
A Wanderer in Florence. By E. V. Lucas. Illustrated
in color, etc., 8vo, 390 pages. Macmillan Co.
$1.75 net.
A Book of Beggars. By W. Dacres Adams. Illus-
trated in color, large 4to. J. B. Lippincott Co.
$1.25 net.
The Adventures of Kitty Cobb. Pictures and text by
James Montgomery Flagg. 4to. George H. Doran
Co. $2. net.
The Four Gardens. By Handasyde. Illustrated in
color, etc., by Charles Robinson, 8vo, 161 pages.
J. B. Lippincott Co. $1.50 net.
The Mother Book. By Margaret E. Sangster. Deco-
rated, 8vo, 392 pages. A. C. McClurg & Co.
$2. net.
The Life of Mansle Wauch, Tailor in Dalkeith.
Written by himself and edited by D. M. Moir.
Illustrated in color by Charles Martin Hardle,
12mo, 355 pages. A. C. McClurg & Co. $1.75 net.
The Sermon on the Mount. Illuminated in missal
style by Alberto Sangorskl. Large 8vo. Dana
Estes & Co. $1.75 net.
The Lighter Side of Irish Life. By George A. Birm-
ingham. Illustrated in color by Henry W. Kerr.
12mo, 270 pages. F. A. Stokes Co. $1.75 net.
Cranford. By Mrs. Gaskell. Illustrated In color by
H. M. Brock, 8vo, 307 pages. J. B. Lippincott Co.
$1.60 net.
The Harbor of Love. By Ralph Henry Barbour.
Illustrated In color by George W. Plank and deco-
rated by Edward Stratton Holloway. 12mo, 162
pages. J. B. Lippincott Co. $1.50 net.
The Call of the Wild. By Jack London. Illustrated
In color by Paul Bransom, 12mo, 254 pages. Mac-
millan Co. $1.50 net.
Sweet Songs of Many Voices. Compiled by Kate A.
Wright (Mrs. Athelstan Mellersh). With frontis-
piece In color, 12mo. 242 pages. H. M. Caldwell
Co. $1.35 net.


464
[Dec. 1,
THE DIAL
Christmas: A Story. By Zona Gale. Illustrated In
color, 12mo, 243 pages. Macmillan Co. $1.30 net.
The Maker of Rainbows, and Other Fairy-Tales and
Fables. By Richard Lie Galllenne. Illustrated In
color, etc., 8vo, 105 pases. Harper & Brothers.
$1.25 net.
Tales of the Untamedi Dramas of the Animal World.
Adapted from the French of Louis Pergaud by
Douglas English. Illustrated, 12mo, 211 pages.
Outing Publishing Co. $1.25 net.
The Lover's Baedeker and Guide to Arcady. By
Carolyn Wells. Illustrated In color, 12mo, 115
pages. Frederick A. Stokes Co. $1. net.
Muter Painters! Being Pages from the Romance of
Art. By Stewart Dick. Illustrated, 12mo, 275
pages. Small, Maynard & Co. $1.25 net.
The I pas Tree: A Christmas Story for All the Tear.
By Florence L. Barclay. With frontispiece In
color. 12mo, 287 pages. G. P. Putnam's Sons.
$1. net.
The Cati Being a Collection of the Endearments and
Invectives Lavished by Many Writers upon an
Animal Much Loved and Much Abhorred. Col-
lected, translated, and arranged by Agnes Rep-
plier. Illustrated, 12mo, 172 pages. Sturgis &
Walton Co. $1. net.
Beauty and the Jacobini An Interlude of the French
Revolution. By Booth Tarklngton. Illustrated,
12mo, 100 pages. Harper & Brothers. $1. net.
Blue-Bird Weather. By Robert W. Chambers. Illus-
trated by Charles Dana Gibson, 12mo, 140 pages.
D. Appleton & Co. $1. net.
The Honorable Mian Moonlight. By Onoto Watanna.
With frontispiece in color, 12mo, 175 pages. Har-
per & Brothers. $1. net.
The Garden of Dreams. By Clarice Vallette Mc-
Cauley. 12mo, 158 pages. A. C. McClurg & Co.
$1.25 net.
The World's Romances. New volumes: Tristan and
Iseult, an Ancient Tale of Love and Fate, Illus-
trated in color by Gilbert James; Siegfried and
Kriemhlld, a Story of Passion and Revenge, illus-
trated in color by Frank C. Pape. Large 8vo.
Dana Estes & Co. Per volume, $1. net
The Arnold Bennett Calendar. Complied by Frank
Bennett. 12mo, 128 pages. George H. Doran Co.
$1. net.
Knocking the Neighbors. By George Ade. Illus-
trated, 12mo, 229 pages. Doubleday, Page & Co.
$1. net.
Uncle Noah's Christmas Inspiration. By Leona Dal-
rymple. Illustrated, 12mo, 62 pages. McBrlde,
Nast & Co. 50 cts. net.
E. P. Button's Art Calendars for 1013. Comprising
the following: Sweet Girlhood Calendar, $1.50;
Our Dog Friends Calendar $1.25; Catholic Church
Calendar, 75 cts.; That Reminds Me Calendar,
75 cts.; Fra Angollco Calendar, 75 cts.; Thoughts
from the Poets Calendar, 75 cts.: Red Letter Kal-
endar, 50 cts.; The John Peel Calendar, 50 cts.;
The Madonna Calendar, 50 cts.; Joy be to Thy Fu-
ture Calendar, 50 cts.: Kindly Thoughts Calendar,
50 cts.; Phillips Brooks Calendar, 50 cts.; Proverb
Pictures Calendar, 25 cts.
The Excuse Book; or, Pocket Life Preserver. Com-
piled, Tested and Verified by X. Q. Zmee. Illus-
trated, 12mo, 90 pages. John W. Luce & Co.
76 cts. net.
Cobb's Anatomy. By Irvln S. Cobb. Illustrated by
Peter Newell, 12mo, 141 pages. George H. Doran
Co. 75 cts. net.
Brotherly House. By Grace S. Richmond. Deco-
rated, with frontispiece in color, by Thomas J.
Fogarty. 12mo, 89 pages. Doubleday, Page & Co.
50 cts. net.
Where the Heart 1st Showing That Christmas Is
What You Make It. By Will Irwin. With front-
ispiece, 12mo, 73 pages. D. Appleton & Co.
60 cts. net.
Chasing the Bines. By R. L. Goldberg. Illustrated,
8vo. Doubleday, Page & Co. 50 cts. net.
Mrs. Budlong'a Christmas Presents. By Rupert
Hughes. 12mo, 121 pages. D. Appleton & Co.
50 cts. net.
For Our Mothers! To Honor Mother's Day. Compiled
by Nell Andrews. 8vo, 70 pages. Fort Worth.
BIOGRAPHY AND REMINISCENCES.
Reminiscences of a Diplomatist's Wife: Further
Reminiscences of a Diplomatist's Wife In Many
Lands. By Mrs. Hugh Fraser. Illustrated, large
8vo, 395 pages. Dodd, Mead & Co. $3. net.
Fanny Burner at the Court of Queen Charlotte. By
Constance Hill. Illustrated In photogravure, etc..
large 8vo, 366 pages. John Lane Co. $5. net.
The Life of Benjamin Disraeli, Earl of Beaconsfleld.
By William Flavelle Monypenny. Volume II..
1837-1846; illustrated in photogravure, large 8vo,
421 pages. Macmillan Co. $3. net.
Caesar Borgiai A Study of the Renaissance. By John
Leslie Garner. Illustrated, large 8vo, 320 pages.
McBrlde, Nast & Co. $3.25 net.
When I Was a Child. By Yoshlo Marklno. Illus-
trated in photogravure, etc., 12mo, 281 pages.
Houghton Mifflin Co. $1.50 net.
The Soldier-Bishop, Ellison Capers. By Walter B.
Capers. Illustrated, 8vo, 365 pages. Neale Pub-
lishing Co. $3. net.
Memories of Victorian London. By L B. Walford.
With photogravure portrait, 8vo, 348 pages.
Longmans, Green & Co. $3.50 net.
Memoirs of Uclphlne de Snbran, Marquise de Cus-
tine. From the French of Gaston Maugras and
Le Cte. P. De Croze-Lemercier. With photo-
gravure portrait, 8vo, 384 pages. George H.
Doran Co. $3. net.
Things I Can Tell. By Lord Rossmore. Illustrated
in photogravure, etc., 8vo, 270 pages. George H.
Doran Co. $3.50 net.
Memories. By Frederick Wedmore. 8vo, 230 pages.
George H. Doran Co. $2.50 net.
The Autobiography of an Individualist. By James O.
Fagan. 12mo, 290 pages. Houghton Mifflin Co.
$1.25 net.
A Staff Officer's Scrap-Book during the Russo-Jap-
anese War. By General Sir Ian Hamilton. Illus-
trated, 8vo, 444 pages. Longmans, Green & Co.
$2.10 net.
From My Hunting Day-Book. By His Imperial and
Royal Highness the Crown Prince of the German
Empire and of Prussia. Illustrated in color, etc..
8vo, 131 pages. George H. Doran Co. $2. net.
The Man Who Bucked Up. By Arthur Howard, 12mo.
279 pages. Doubleday, Page & Co. $1. net.
One of Jackson's Foot Cavalryi His Experience and
What He Saw during the War, 1861-1865. By
John H. Worsham. Illustrated, 8vo, 353 pages.
Neale Publishing Co. $2. net.
A Journey to Ohio In 1810i As Recorded in the Jour-
nal of Margaret Van Horn Dwight. Edited, with
an Introduction, by Max Farrand. 8vo, 64 pages.
Yale University Press. $1. net.
HISTORY.
The Sunset of the Confederacy. By Morris Schaff.
With Maps, 8vo, 302 pages. John W. Luce & Co.
$2. net.
The Numerical Strength of the Confederate Armyi
An Examination of the Argument of the Hon.
Charles Francis Adams and Others. By Randolph
H. McKim, D. D. 12mo, 72 pages. Neale Publish-
ing Co.
When the Ku Klux Rode. By Eyre Darner. 12mo.
152 pages. Neale Publishing Co. $1. net.
Parallel Source Problems in Medieval History. By
Frederic Duncalf and August C. Krey; with In-
troduction by Dana Carleton Munro. 12mo. 250
pages. Harper & Brothers. $1.10 net.
GENERAL LITERATURE.
The Diaries of William Charles Macrrady, 1833-1851.
Edited by William Toynbee. In 2 volumes, illus-
trated, large 8vo. G. P. Putnam's Sons. $7.50 net.
The Inn of Tranquillity! Studies and Essays. By John
Galsworthy. 12mo, 278 pages. Charles Scrlbner's
Sons. $1.80 net.
A Miscellany of Men. By G. K. Chesterton. 12mo, 314
pages. Dodd, Mead & Co. $1.50 net.


1912.]
465
THE DIAL
Hall and Farewell! Salve. By George Moore. 12mo,
396 pages. D. Appleton & Co. $1.75 net.
The Cutting of an Agate. By William Butler Yeats.
12mo, 255 pages. Macmillan Co. $1.50 net.
A Survey of English Literature, 1780-1830. By Oliver
Elton. In 2 volumes; large 8vo. Longmans, Green
& Co. $6. net.
A Book of Famous Wits. By Walter Jerrold. Illus-
trated, 8vo, 326 pages. McBride, Nast & Co.
12.50 net.
Walking Essays. By A. H. Sidgwlck. 12mo, 275
pages. Longmans, Green & Co. $1.40 net.
The Collected Worka of Ambroae Blerce. Volume XI.
8vo, 398 pages. Neale Publishing Co. Per set, $25.
Maaterplecea of the Maatera of Fiction. By William
Dudley Foulke. 12mo, 268 pages. Cosmopolitan
Press. $1.25 net.
Studying the Short-Story. By J. Berg Esenweln,
Lit. D. 12mo, 438 pages. Hinds, Noble & Eldredge.
DRAMA AND VERSE.
Poems nnd Playa of William Vaughn Moody. With
Introduction by John M. Manly. In 2 volumes;
with photogravure portraits, 12mo. Houghton
Mifflin Co. $1.50 net.
Song* from Booka. By Rudyard Kipling. 12mo, 249
pages. Doubleday, Page & Co. $1.40 net.
Playa. By August Strlndberg. Comprising Creditors;
Pariah; translated from the Swedish, with Intro-
ductions by Edwin Bjorkman. 12mo, 89 pages.
Charles Scribner's Sons. 75 cts. net.
Easter, and Stories. By August Strlndberg; trans-
lated from the Swedish by Velma Swanston How-
ard. With portrait, 12mo, 263 pages. Stewart &
Kidd Co. $1.50 net.
Rhymes of a Rolling Stone. By Robert W. Service.
12mo, 172 pages. Dodd, Mead & Co. $1. net.
I'rlel, and Other Poems. By Percy MacKaye. 12mo,
63 pages. Houghton Mifflin Co. $1. net.
Venuai To the Venus of Melos. By Auguste Rodin;
translated from the French by Dorothy Dudley.
Illustrated, 12mo, 26 pages. B. W. Huebsch.
50 cts. net.
Poema. By Frederic and Mary Palmer. 12mo, 115
pages. Houghton Mifflin Co. $1. net.
Idylla of the South. By Mrs. Bettle Keyes Chambers.
12mo, 168 pages. Neale Publishing Co. $1.50.
The Buccnneerai Rough Verse. By Don C. Seltz.
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1912.]
467
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THE DIAL
a &emt«lfKantt)Ig Journal of ILtteratg etrittciam, IBiecaseian, ann Information.
No. 636. DECEMBER 16, 1912. Vol. LIU.
Contents.
PAOB
THE CASE OF POETRY 477
CASUAL COMMENT 479
Noise and the book-trade and some other things.
— Of those who know not the public library.— A
memorable friendship.— A publisher of the old
school.— The possible solution of a linguistic mys-
tery.— The cumulative rate of a library's growth.—
The book-swindler in the toils.— The Philippine
Library.— Pseudo-Latin, spoken and written.—A
noteworthy gift to the Library of Congress.
COMMUNICATIONS 482
"Externalism" in Our Colleges. Joseph Jastrow.
The Paralysis of Culture. Llewellyn Jones.
Cooperation in Business and Agricultural Research.
Max Batt.
WILLIAM VAUGHN MOODY. William Morton Payne 4*4
THE LAST DAYS OF THE CONFEDERACY.
Charles Leonard Moore 486
A POET IN LANDSCAPE. Edward E. Hale ... 488
THE SAINT OF ASSISI. Norman M. Trenholme . . 490
NEW MEMORIALS OF THE ENGLISH CATHE-
DRALS. Josiah Benick Smith 492
Atkinson's English and Welsh Cathedrals.— Bond's
The Cathedrals of England and Wales, fourth edi-
tion.— Sibree's Our English Cathedrals.— Woodruff
and Danks's Memorials of Canterbury Cathedral.
HOLIDAY PUBLICATIONS—n 493
Forrest and Koebel's South America. — Chambers's
Traditions of Edinburgh, illustrated by James Kid-
dell. — Elmendorf's A Camera Crusade through the
Holy Land. — Tyndale's An Artist in Egypt.—
Watt's Edinburgh and the Lothians.—Simpson's
Rambles in Norway. — Lucas's A Wanderer in
Florence.—Smith's Monaco and Monte Carlo.—
Hutton's Cities of Lombardy. — Mrs. Purdy's Nan
Francisco. — Alden's Fifty Water-Color Drawings
of Oxford. — Osborne's Picture Towns of Europe.—
Myers's Where Heaven Touched the Earth.—
Weitenkampf's American Graphic Art. — Heyl's
Art of the Uffizi Palace and the Florence Academy.
— Hunter's Tapestries. — Miss Henderson's Art
Treasures of Washington.—Dick's Master Painters.
—Photograms for 1912. — Homer's Odyssey, trans,
by H. B. Cotterill.—Goldsmith's She Stoops to Con-
quer, illustrated by Hugh Thomson. — Poe's The
Bells, illustrated by Edmund Dulac.—Shakespeare's
Romeo and Juliet, illustrated by W. Hatherell.—
Aldrich's The Shadow of the Flowers.—The Sermon
on the Mount, decorated by Alberto Sangorski.—
Mrs. Gaskell's Cranford, illustrated by H. M. Brock.
— Van Dyke's The Unknown Quantity.— London's
The Call of the Wild, illustrated by Paul Bransom.
— Le Gallienne's The Maker of Rainbows.— Mrs.
Barclay's The Following of the Star, illustrated by
F. H. Townsend.—Chambers's Blue-Bird Weather.
— Miss Gale's Christmas, illustrated by Leon V.
Solon.— Mrs. Sale's Old Time Belles and Cavaliers.
— Dier's A Book of Winter Sports.—Pngh's The
Charles Dickens Originals.— Birmingham's The
Lighter Side of Irish Life.— English's Tales of the
Untamed.—EberleinandLippincott'sColonialHomes
of Philadelphia—Wood's The Battleship.—" Hand-
asyde's" The Four Gardens.— Memories of Presi-
HOLIDA Y PUBLICATIONS —continued.
dent Lincoln.— White's The Call of the Carpenter,
illustrated by Balfour Ker.— Mosher's Amphora.—
Flagg's The Adventures of Kitty Cobb.— Adams's
A Book of Beggars.—Mrs. Sangster's The Mother
Book.— Miss Young's Behind the Dark Pines.—
Rodin's Venus.—The World's Romances.— Mc-
Cutcheon's Dawson, '11: Fortune Hunter.—Lucas's
A Little of Everything.— Miss Repplier's The Cat.
— Mrs. Bikle's The Voice of the Garden.— Bryan's
Poems of Country Life.—Miss Wright's Sweet Songs
of Many Voices.
NOTES .505
LIST OF NEW BOOKS 506
THE CASE OF POETRY.
In the conditions of current literary activity
there are symptoms of a desire to do something
for poetry. It is a laudable desire, although ite
full justification depends upon the assumption
that poetry is in need of coddling, and upon
the further assumption that encouragement or
incentive will be likely to increase its amount
and improve its quality. As far as increasing
its amount is concerned, we have grave doubts
of the wisdom of any concerted propaganda.
A large acquaintance with such nurslings of
the muses as may be genetically described as
"Badger poets" has made us perhaps unduly
pessimistic. Some hundreds of volumes of
metrical exercises labelled poetry come under
our observation every year, and we can only
say of them with Othello, "But yet the pity of
it!" The combination of misguided taste with
overweening conceit which alone can account
for these vapid outpourings is one of the least
lovely phenomena of human nature, and we
endure its manifestations only because of the
hope that springs eternal in the critic's breast,
the hope that this stagnant corruption may
perchance blossom when we least expect it into
some miraculous flower of song. The hope is
sometimes fulfilled, as it was once with us in
glorious measure when an uninviting volume
came to our hand, eliciting at the first glance
only some such reflection as "another tiresome
allegory," but upon closer examination revealing
such wonders of beauty as we had not dared to
dream our age and country capable of produc-
ing. For that volume was "The Masque of
Judgment," and it made us understand how a
lover of poetry must have felt in 1667, discov-
ering for himself "Paradise Lost," or in 1820,
opening the pages of "Prometheus Unbound."


478
[Dec. 16,
THE DIAL
Genius prepares such surprises for the world
from time to time, and no age is too prosaic to
admit of their possibility.
We would not then say a word in deprecation
of any earnest effort to provoke the poetic spirit
into activity, although the fruits of such an effort
are likely to prove for the most part innutritive
and insipid. The only thing that gives us pause
in the contemplation of such stimuli as are
offered to poets in the way of prizes or of oppor-
tunities for publicity, is the question whether any
such encouragements are likely to evoke song in
cases where silence would otherwise obtain, or
whether their application has any potency to en-
dow the singer with a higher rapture or a more
authentically creative expression than would in
any case be his.
"In far retreats of elemental mind
Obscurely comes and goes
The imperative breath of song,"
and inward compulsion rather than outward
incentive seems to be the law of its being. The
history of "prize poetry," on the one hand, and
the history of genius in its struggle with adver-
sity, on the other, provide reasonable confirma-
tion of this view.
The effort "to do something for poetry" is
signalized this year by the launching of two little
magazines devoted to the interests of this art.
"The Poetry Review," of English origin, is
"devoted to the study and appreciation of
modern poetry of all countries," and, beginning
with next January, will change its periodicity,
becoming a quarterly instead of a monthly, thus
coming into comparison with our own quarterly
"Poet-Lore," which has maintained its noble
cause for many years. It will also open in
London a bookshop for the sale of poetry, in
which "purchases will be strictly optional."
The other new venture is Miss Harriet Monroe's
"Poetry," the delightful little monthly published
in Chicago, to which we have previously called
attention. Being generously subsidized, this
periodical is assured of at least five years in
which to further its aims, and we trust that the
end of that term will find it standing securely
on its own feet. If it does not succeed in evok-
ing anything new and strange, it will at least
have served to bring together in convenient
form a considerable quantity of the best current
verse. Speaking of the fear expressed in some
quarters that it " may become a house of refuge
for minor poets," Miss Monroe makes some
pointed remarks: "Paragraphers have done
their worst for the minor poet, while they have
allowed the minor painter, sculptor, actor —
worst of all, architect — to go scot-free. The
world which laughs at the experimenter in verse
walks negligently through our streets, and goes
seriously, even reverently, to the annual exhibi-
tions in our cities, examining hundreds of pic-
tures and statues without expecting even the
prize-winners to be masterpieces." The point
is well taken, although we find the term "minor''
a convenient one for the expression of a fact,
and would rather see its use extended to the
other arts than tabooed when speaking of poetry.
Of course, no artist quite relishes having his
work dubbed with this adjective, but the poet
who resents being classified as "minor" may be
glad that he is called nothing worse. When
Mr. Slason Thompson some years ago published
an anthology, which he styled "The Humbler
Poets," he discovered that several of the men
whom he had honored by inclusion nursed a
decided grievance, and he was the recipient of
letters from them indignantly denying that they
were "humble."
In projecting what he calls " The Lyric Year,"
Mr. Mitchell Kennerley, a New York publisher,
has undertaken an extremely interesting experi-
ment in poetical encouragement. The volume
for 1912, now published, is thus introduced by
the editor:
"If the usual volume of verse by a single author may
be termed a one man's show, if poems appearing in the
magazines may be compared to paintings handled by
dealers, if time-honored anthologies may be called poet-
ical museums, 'The Lyric Year ' aspires to the position
of an Annual Exhibition or Salon of American poetry,
for it presents a selection from one year's work of a
hundred American poets."
Since this publication was widely heralded, and
since with the announcement went an offer of
three prizes aggregating one thousand dollars,
we are not surprised to be informed that nearly
two thousand poets submitted works to the jury,
and that no less than ten thousand poems were
entered in the competition. The result as now
published thus represents the winnowing away of
ninety-nine per cent of chaff, each of the poems
printed being but one out of a hundred of those
submitted.
A peculiarly gratifying feature of this exhibit
is found in the fact that it includes so many of
our best-known names. It is to be feared that
all our living poets (now that Moody is no more)
are "minor," but there are degrees of minority,
and if we may venture to suggest such a thing
as "an emerged tenth,"' we should perhaps find
it in the following list of those here represented:
Mr. Carman, Mr. Cawein, Mr. Markham, Mr.
Scollard, Mr. Torrence, Mr. Woodberry, Mrs.


1912.]
479
THE
DIAL
Dargan, Mrs. Dorr, Miss Peabody, and Miss
Thomas. In making this invidious selection, we
mean to intimate merely that these ten have per-
haps more firmly-established reputations than
the remaining ninety, and not that their work is
necessarily finer than that of many among the
others. And nothing about the whole matter is
more striking than the fact that the three prize
awards do not go where we would have thought
it a priori probable that they would go, but
instead to three men whose names are absolutely
unknown to the general reading public. And
yet, comparing with the others these prize poems
of Mr. Orrick Johns, Mr. Thomas Augustine
Daly, and Mr. George Sterling, we cannot fairly
say that the distinction awarded them is unde-
served. If they are not clearly superior to all
the others, we should hesitate to say that any of
the others overtopped them. And it is, on the
whole, extremely gratifying that three unknown
men should emerge to head the list in such a
competition as this. Mr. Orrick Johns, whose
poem is thus adjudged the best of the ten thou-
sand submitted, is a youth of twenty-five; he
has now become a marked man, and has only
to fulfil the promise of this poem to become a
famous one.
In one matter only, we are inclined to say
a word of adverse criticism concerning this
anthology. When the editor confesses that in
his selection he "has endeavored to give prefer-
ence to poems fired with the Time spirit and
marked by some special distinction, rather than
mere technical performances," we think that he
has gone astray. We should like, did space
permit, to enlarge upon this thesis, but will be
content with referring instead to Mr. Hermann
Hagedorn's " Note on Contemporary Poetry " in
"The North American Review" for December,
which convincingly refutes the critical heresy
above confessed. As this writer justly says:
"A poet need not limit himself to-day, any more than
in the time of Homer, to the stories and the background
of his own age, to speak to it truths which the man in
the street wiil admit are vital, real. Unless he be a rare
anachronism, he will express his age unconsciously, even
though he sing of the Seven Buried Cities of Cibola."
Quoting from a Japanese critic who says that
"American poets bother too much with social
reform and what not," Mr. Hagedorn further
observes that "social reform is matter for
sociology or any other science that deals with
the passing manifestations of life, not for
poetry. . . . For art, at its best, is not an
escape from life nor a criticism of life, but an
expansion of life into regions which ordinary
human experience cannot otherwise reach."
This argument, coupled with the editor's con-
fession, makes us feel a vague suspicion that
among the poems rejected under the false canon
there may have been some that would have
raised the average excellence of "The Lyric
Year," high as that average now is. In any
such selection, Art, rather than the expression
of the Zeitgeist, should be looked to for the
decisive test.
CASUAL COMMENT.
Noise and the book-trade and some other
things are interrelated in a curious manner. Paris,
with its steam trams, its gigantic, iron-tired, steam
motor-trucks, and its boisterous f&tes foraines, or,
freely translated, Coney Islands on wheels-—not
to speak of a hundred other noise-producers—has
achieved the unenviable fame of being the least
quiet city in the world, or, which is the same thing,
worse than New York for quantity and quality and
variety of din. So horrid is the uproar that one can
no longer saunter with any pleasure up and down
the boulevards, or along the quays where the book-
booths used to invite to blissful quarter-hour of
browsing among rare early editions or other succu-
lent herbage of the literary sort. Hence the book-
dealers and others are organizing a chapter in the
vigorous young society of the Friends of Silence.
Book-writing, no less than book-reading and book-
selling, is interfered with by noise, and authors,
especially if they be city-dwellers, should be among
the first and the most active of the members in this
anti-racket confederation. They cannot all afford
the luxury of a sound-proof study, a la Carlyle,
even if sound-proof studies were really sound-proof,
which, unless they are suspended in vacuo, they
cannot be. Mr. Henry Wellington Wack, of the
New York Bar, at a recent meeting of the Psycho-
logical Section of the Medico-Legal Society, made
a vigorous remonstrance against unnecessary noises
in cities, pointing out the nervous and other disor-
ders caused thereby, and the waste of energy, as
well as of health and comfort, attributable thereto.
The nervous belt of the United States he makes
to extend in width from Boston on the north to
Washington on the south, and thence across the
continent; and "this is the region of noise, neuras-
thenia, hysteria, brain-storms, mythomania, nerve-
specialists, money madness, and the asbestos con-
science." Eliminate avoidable noises, and the life
of the average city-dweller would be prolonged
seven years — as the life-insurance actuaries will
tell you. "But the average resident of large cities
has had his auditory nerves so coarsened, and has
trained his voice so harshly, that he is more con-
scious of the absence than the presence of noise.
In other words, he does not feel normal unless the
varied stimuli of noise are at play upon his senses.
Deprive him of this noise-cocktail and he becomes
somnolent; thinks he is dying." Thus Mr. Wack.


480
[Dec. 16,
THE DIAL
Our urban public libraries are not the least sufferers
from street noises; their reading-rooms, especially
in summer when the windows are open, have more
of pandemonium about them than the "still air of
delightful studies." . . .
Of those who know not the public library
the number is larger than librarians like to admit
even to themselves. But the proportion of these non-
users to the users of this beneficent institution is cer-
tainly diminishing, in our own country at least. The
latest report of the Springfield (Mass.) City Library
tells us that "the whole number of cardholders en-
rolled in the present series, which began December
15, 1908, is 30,665. This figure does not include
the many persons served by the deposit system, of
whom no statistics are available." Springfield's pop-
ulation, as given by the census of 1910, is 88,926.
Thus it seems to be safe to conclude that at least one-
third of the inhabitants of that typical New England
city are library-users. In Boston, whose census fig-
ures for population are 670,585, and whose regis-
tration figures in the year following that census were
86,913, the library-users appear to number less than
thirteen per cent of the inhabitants. In the Balti-
more ''Sun" there has just come to our notice a
letter to the editor deploring the smallness of the
number of persons registered as book-borrowers at
the Enoch Pratt Free Library, which is virtually the
public library of the city. Lament is made that
"only about five per cent" of the population are
thus registered. Of course there are in Baltimore
other beside public libraries that serve many stu-
dents and readers, as there are in Boston and
Springfield, and statistics of all sorts are notoriously
deceptive; but the official announcement of such an
encouraging state of things as is met with in the
Springfield Report is always pleasant to read.
• • ■
A memorable friendship was that between
Lowell and Charles Eliot Norton. Many of Lowell's
letters to Norton —to " Ciarli" as he playfully called
him in Italian spelling—are to be found in the two
rich volumes of Lowell's correspondence. Some of
those written by Norton in reply are now made
public in the record of the " Letters of Friendship"
series appearing in "The Atlantic Monthly" and
composed of selections from Norton's letters to those
with whom he was most intimate. Using at first the
more formal opening, "My dear Lowell," Norton
soon changed this to "My dear James" and then
"My dearest James," becoming warmly affectionate
and receiving no lesser warmth in return. In a
letter of December, 1861, from New York we note
the following: "How good the new number of the
Atlantic is! I have read and reread your letters
in it, always with a fuller sense of the overflowing
humor, wit, and cleverness of them. You are as
young, my boy, as you were in the old time." And
in one written soon after Lowell's appointment as
Minister to England, the following is significant: "It
is an immense mistake, it seems to me, to think it
necessary to live at a great expense as Ambassador.
You can live with dignity and propriety in London
on the Minister's salary, and be just as much liked
as if you spent double, and more respected. I think
Motley never gained by his lavishness, but on the
contrary exposed himself to criticism that was not
unfounded." At the time of the appearance of
"Leaves of Grass" Norton speaks in praise of it,
and adds: "It is a book which has excited Emer-
son's enthusiasm. He has written a letter to this
'one of the roughs' which I have seen, expressing
the warmest admiration and encouragement. It is
no wonder he likes it, for Walt Whitman has read
the Dial and Nature, and combines the character-
istics of a Concord philosopher with those of a New
York fireman." For other good things in this series
of letters the reader will be glad to consult the De-
cember "Atlantic." . . .
A publisher of the old school has passed away
in the recent death of Mr. Frank Hall Scott, who had
enjoyed four decades of activity in the publishing
business in New York, almost half of that time being
president of the Century Company. "Jinjoyed" is
here used advisedly, Mr. Scott's discharge of his
duties having nothing of the perfunctory about it.
Filled with a sense of the publisher's responsibility
to the public, he seems to have regarded the business
of issuing books as a sort of educational crusade.
What there was in it, pecuniarily, for him, appears
to have been his last thought. Toward authors, espe-
cially young and struggling authors, he showed a
friendly bearing and at times a most unprofessional
tenderness of heart. An obituary notice of him tells
of his final acceptance of an already declined manu-
script. The writer was a woman. Calling upon Mr.
Scott after that gentleman had endeavored to make
her aware that her literary offering was not desired,
she pleaded her cause so well that when the publisher
came out from the interview he bore her manuscript
in his hand and told his associate, " I've had to take
it." "Had to?" queried the other. "Why, how
did you come to do that?" "She wept so. What is
more, she used up her own handkerchief and had to
borrow mine to weep in. I could n't stand that. I
guess we can sell a few copies." Mr. Scott was a
Hoosier by birth, a graduate of the Pennsylvania
Military Academy, a holder of the honorary degree
of L.H. D. from Marietta College, a director of the
American Publishers' Association, and was sixty-four
years old at the time of his death.
• • •
The possible solution of a linguistic mys-
tery is presented in the new theory propounded by
Professor Jules Martha of the Sorbonne as to the
character of the ancient Etruscan language, that
baffling problem of philology that has puzzled
scholars for many a century. It appears that he
has traced certain resemblances, both in vocabulary
and in syntax and inflections, between the tongues
of the so-called agglutinative group of languages—
which includes the speech of the Finn, of the Lap,


1912. j
481
THE
DIAL
and of the Hungarian—and the hitherto untranslat-
able language of the prehistoric dweller in Tuscany.
Following this scent, he is reported to have de-
ciphered the meaning of a number of Etruscan
inscriptions, among them being certain contracts for
the sale of land and a prayer to the god of healing;
and he has also succeeded in interpreting the least
illegible of the writings on the wrappings of the cele-
brated mummy in the museum at Agram in Croatia.
This mummy is of the time of the Ptolemies, but
not Egyptian in its wrappings and inscriptions; and
the latter are found by Professor Martha to be a
ritual for the use of sailors. If the key to Etruscan
inscriptions has thus really been found, it will be a
discovery of great importance; and if at the same
time light is thrown on the anomalous group of
modern languages to which the Etruscan is said to
bear a striking resemblance, the possible outcome of
it all will be doubly interesting.
* * * i
The cumulative rate or a library's growth
in these days when the multiplication of books goes on
in something like geometrical progression, is almost
enough to take one's breath away. In a pamphlet
bearing the title, "University of Michigan Library,
1305-1912. A Brief Review by the Librarian," a
striking instance of rapid library growth is noted.
"More books," writes Mr. Koch, "have been added
to the University Library during the seven years of
my librarianship than in the first sixty years of the
history of the University. Or, to put it another way,
if the present growth of the Library continues, it
will, by December 1914, be double in size what it
was when I came to the Library in 1904." With
increase in size comes also a more than proportional
increase in expense, because, for example, "it costs
more to put a book into a large library than in[to] a
small one, because more and higher grade labor is
required to find whether the book is not already in
or ordered for the library. It costs more to classify
a book in a large library than in a small one; more
time and more skill are required to correctly place a
new book in a collection where there are many books
in the same field than where there is but a handful
of books on the subject." And so with cataloguing
and labelling and shelving; so also with keeping in
good order and repair, and with meeting the appli-
cant's demand for any specified book, the increased
size of the collection necessarily causing more steps,
more pages, perhaps a greater number of desk attend-
ants. The small library, therefore, has certain reasons
for thankfulness of which it is not always conscious,
but to which it will perhaps have its eyes opened in
that near future when it shall have become a large
library. . . .
The book-swindler in the toils of the govern-
ment drag-net is a sight to rejoice gods and men.
Twelve such swindlers of the ever-gullible newly-
rich book-buyer have been indicted on the charge of
unlawful use of the mails in advertising and selling
so-called "de-luxe" editions that have in reality
about the value of so much tinsel; and the drag-net
is still out. This praiseworthy action of the public
authorities will perhaps serve, among other things,
to make more than one owner of what he considers
an extraordinarily valuable library open his eyes to
the comparative worthlessness of the greater part of
his collection. Better had it been for that man if
he had spent in hiring the services of a competent
librarian a quarter part of the wealth he has thrown
away on showy bindings and cheap illustrations;
then the other three-quarters might have secured
him a library really worth owning. The magnificent
collection of Mr. J. Pierpont Morgan, for instance,
splendidly housed and properly cared for, contains
not a single example of the book-fakir's unholy art;
for his librarian. Miss Belle Greene, is reputed one
of the most expert members of her profession, and
has had a larger experience in the buying of literary
rarities than anyone you will be likely to meet in a
long day's journey. Nor is Mr. Morgan himself by
any means a helpless innocent in the hands of the
persuasive and plausible book swindler. It is safe
to say that he knows almost as much, in a large and
general way, about rare books as he does about
railroads. ...
The Philippine Librart has begun issuing a
monthly "Bulletin," the first number containing a
brief prospectus and a copy of the " Law Creating
the Philippine Library," with a classified list of
recent additions to the library. It was three and
one-half years ago that all libraries belonging to the
Insular Government were by legislative enactment
consolidated into the "Philippines Library" under
a managing board consisting of the secretaries of
Public Instruction, the Interior, and Finance and
Justice, with two other members appointed annually
by the Governor-General. After many vicissitudes
the library has secured good quarters in the old
Army and Navy Club building, which will hence-
forth be known as the Library building; and the
entire collection of books under its control, but not
all in this one building, numbers more than one hun-
dred thousand volumes. It is to be noted, with
some regret, that "a fee of five pesos per annum or
fifty centavos per month is charged for the privilege
of drawing books from the Circulating Division
(American Circulating library)." The other priv-
ileges of the library are free. Mr. James A.
Robertson is librarian, Miss Syrena McKee chief
cataloguer, Miss Bessie A. Dwyer chief of the circu-
lating division, and Sefior Manuel Artigas y Cuerva
curator of the " Filipiniana Division."
...
Pseudo-Latin, spoken and written, enlivens
the monotony of existence by moving to innocent
mirth the person sufficiently conversant with his
"Harkness " or his "Allen and Greenough" to know
something about declensions and conjugations. A
New York newspaper prints a large and imposing
illustrated advertisement of a limited express train
between two principal cities, "bringing these great


482
[Dec. 16,
THE DIAL
metropoli together in daily intercourse." This is
even worse than the unfortunate attempt of a recent
writer of repute to pluralize status by using the form
stati. The promoter of a certain industrial enter-
prise wrote us some time ago offering to send a
number of the company's prospecti for distribution.
And, finally, to complete this list of irregular plurals
in i, the toastmaster at a college alumni dinner not
long since allowed himself to refer to the curriculi
of our higher institutions of learning. Will anyone
now question the value of a classical education
when it enables the proud possessor of it not only
to enjoy a laugh at such grammatical slips as the
foregoing, but also, in an unguarded moment, as
with the college-bred toastmaster above named, to
give cause for mirth in others? The Latinist has
joys undreamt of by ignorami.
• • •
A NOTEWORTHY GIFT TO THE LIBRARY OF CON-
GRESS has placed it under great obligation to Mr.
J. Pierpont Morgan. He has presented it with a
volume containing what is the desire of all Ameri-
can autograph-collectors and the despair of most of
them,— namely, a complete set of the "Signers."
With an autograph letter preceding the signature in
most instances, this collection of the fifty-six historic
names affixed to the Declaration of Independence,
each in the handwriting of the one to whom it
belonged, is a treasure well worth preserving in the
national library, which has hitherto, with shame be
it confessed, been lacking in any such evidence of
patriotic pride. It was probably because Mr. Mor-
gan had learned this fact, with "chagrin and regret,"
as he says, that he took steps to supply the deficiency.
The early damage to the Declaration itself, from
unskilful handling in preparing a facsimile of the
instrument, renders all the more important this pre-
servation of a set of the signers' autographs on the
government's part.
COMMUNICA TIONS.
"EXTERNAL1SM" IN OUR COLLEGES.
(To the Editor of The Dial.)
There are three good reasons why it is unnecessary
for me to reply to the communication of " An American
Professor" in your issue of December 1. His protest
is against certain positions of your editorial rather than
of my article (which I cannot be certain that he has
read); the points of issue do not depend upon state-
ments or views for which I am responsible, though I
may in a measure agree with them; the points of issue
lie somewhat apart from the central theme of my dis-
cussion. Yet I cannot expect that those interested in
the matter will take the pains to draw these distinctions.
The "American Professor," whose lot seems to have
fallen in pleasant places, sets forth that his own inter-
ests and pursuits have not been seriously affected by
the prevalent mode of university administration. To
the casual reader this personal statement might give
the erroneous impression that such an instance is ex-
ceptional. It reminds one of a pre-election anecdote:
the young daughter of the house, after listening to
the political views of the guests at her father's table,
remarked to the solitary member of the group: " I know
some one else who is going to vote forTaft." My own
statement of the "American Professor's" case is ranch
stronger than his. I note: "Critically temperate state-
ments admit the enormous power which he [the p resident]
wields to mitigate or to aggravate the evils of the sys-
tem." I have made it plain that there are many insti-
tutions which suffer little from these evils because of
the spirit of their administration. There are doubtless
hundreds of professors whose activities have not suf-
fered from the system; and in the judgment of a great
majority of the professors who answered Professor
Cattell's inquiries, there are infinitely more whose
careers have been unfortunately affected, and who are
strongly opposed to the present form of government.
My own opinion is thus expressed: "The successes
achieved under the present system are in my j udgment
partly due to the compensations that lie in every sys-
tem, however unsuitable, yet more largely to the miti-
gations exercised under considerations foreign to its
temper, more plainly to violations of its provisions,—
to concessions and forbearance." If the "American
Professor" believes that the privileges which he en-
joys would be endangered under the system of larger
corporate control by the Faculties, his arguments upon
which that belief is founded are entitled to consider-
ation. I have made it plain that in all such discus-
sions it is the average situation, not the best, that is
to be considered; and it is the trend favored and
the temptations offered (not the result of departure
from that trend and the resistance of temptation) that
must decide as to the worthiness of one or another
form of government. "The unwise authority and false
responsibility of the presidential office invites the in-
cumbent to attempt impossible tasks; invites him to
adopt irrelevant standards," etc. As to the actual
situation, I prefer to accept the cumulative opinion
which Professor Cattell has assembled; as similarly in
my statements I cited the selected opinions of those
who had given careful attention to the subject in an
aspect broader than the personal one. This consensus
of opinion goes far enough to be most gratifying.
The scores of complimentary letters which I have
received since my article appeared, I accept as expres-
sions of agreement with the importance of the position
which I set forth.
The second issue relates to the undesirable effects
upon the student body of some of the forces that main-
tain the present system. In discussing this point,—
one of several and not central, but selected because
of its popular interest,— I took care to indicate that I
was presenting the summary of the judgments of
others and not my own. I cited some witnesses and
reflected as best I could the general impression of a
large number of papers which I had read. To indicate
the bearing of these upon my argument, I said: "Let
me concede at once that some of the above trends are
within limits legitimate and helpful, and again that
they are not wholly or predominantly due to the ad-
ministrative influence." And again: "Doubtless the
causes of the situatiou so variously complained of, like
the cause of the high rate of living, are both deep
and wide." The "American Professor " suggests that
some institutions deserving to be placed on the blacklist
be named, and that I should name them. I fail to see
either the pertinence or the profit of the suggestion.


1912.]
483
THE
DIAL
Such a body as the "Carnegie Foundation for the Ad-
vancement of Teaching" might favorably undertake such
an investigation and publish reports (as has been done
in regard to Medical Schools) that would be helpful if
received in the proper spirit,—of which there is at
present no guarantee. It may be that if the " American
Professor" wrote to some of the more discerning stu-
dents of tendencies in the American College, he would
obtain the names of institutions in which one set or
another of the deplored tendencies was particularly
marked. Taking the description as a composite photo-
graph—so carefully blended that no individual features
are unpleasantly present,— I have no difficulty in recog-
nizing the appropriateness of the whole to many an insti-
tution, though it is not a portrait of anyone. Nor have
I any intention of adding to the woes of an educational
reformer by suggesting even in confidence which one of
the sitters for the composite the portrait most favors.
If the "American Professor" will without prejudice
write the names of a score of American colleges on slips
of paper, and draw a few of these at random (unless
Minerva in disapproval of the method protects the issue),
he will know the names of a few of the institutions to
which some of the criticisms moderately apply. Even
as I write, my attention is arrested by this wholly in-
cidental sentence in an address by President Jordan
(" Science," December 6): "It [the private institution]
is above all temptation to grant university titles or
degrees to the products of four years of frivolity, dis-
sipation and sham." Such sentences by their very
casual nature indicate how widespread this charge has
become.
I regret that issues of this type require such large
draughts upon personal judgment; but this is inevitable.
It is not necessary that they should be rendered yet
more uncertain by the undue emphasis of individual
experience. Joseph Jastrow.
University of Wisconsin, Madison, Wis., Dec. 7,1912.
THE PARALYSIS OF CULTURE.
(To the Editor of The Dial.)
After reading your leading editorial of November 16,
on "Our Spiritual Health,"and also Dr. Andrews's article
in the " International Journal of Ethics " on which your
editorial is based, may one reader at least testify to the
faith that is still in him? That faith is very much shaken
upon occasion by contact with certain people; but those
people are neither the readers of Nietzsche nor the
Socialists, neither of whom Dr. Andrews gives any sign
that he understands even in the most external and remote
way. In the first place the doctrine of naturalism is
practically dead, and Nietzsche—heralded as the expon-
ent of its "logical outcome" by Dr. Andrews — had a
good deal to do with destroying it. As against the
"prudential regulation" theory of morals which Dr.
Andrews mentions — the utilitarian moral sanctions, that
is to say,— Nietzsche thundered valiantly. After read-
ing the English utilitarians, he impatiently exclaims:
"Man does not seek after happiness; only an English-
man seeks after his happiness. I seek not after my
happiness, I seek after my work."
And as for Socialism, is it not, in spite of its unfortu-
nate but non-essential and obsolescent system of dogma,
one of the cultural agencies of the present day? Is it
not, indeed, the largest movement against that very spirit
which your commentator says "can contemplate the
social and political issues of our time . . . with hardly
any other emotion than curiosity"? The spirit of personal
culture is strong within the Socialist party ranks.
Among the men and women there assembled you may
not find interest in the particular classical authors who
bound "culture" for Dr. Andrews, but you may find
interest in contemporary art, literature, and philosophy,
both European and American; and often, too, an appre-
ciative valuing of the human side of Greek literature.
In reality the sinners against whom Dr. Andrews
should thunder are neither the materialists (if there are
any of them left to bow before his wrath), nor the Social-
ists, both of whom are obviously seeking " culture " and
who are obviously not "indifferentists"—for if they were,
how did they arrive at their present unpopular and
thought-requiring positions? No, the people against
whom Dr. Andrews's fulminations should have been
directed are the smug dwellers in his own camp — the
"cultured " people and the "religious " people. Not
the Socialists, but the orthodox churches to-day are
afraid of this attitude which we are now discussing under
the hackneyed term of culture. Let any reader attend
first a Christian Endeavor meeting or any social gather-
ing of church folk, and then go to a club meeting in any
social settlement or to any Socialist assembly, and he
will at once detect the difference of intellectual temper
between the two groups.
And the nominally "cultured" people simply justify
the use of the foregoing qualification when they tell us
that their culture is incompatible with the life of the time
— even when that life is expressed, perhaps crudely, in
Socialism. As against such an idea, true culture says—
and the saying shall here be through the voice of Pro-
fessor J. W. Mackail of Oxford — that the "socialist"
motive must dominate the art and poetry of the future.
In the Introduction to his " Lectures on Poetry " Mr.
Mackail says: "But in the fully socialized common-
wealth which, as a dream or vision, mankind begins to
have before their eyes, there may be a future for poetry,
larger, richer, more triumphant, than its greatest achieve-
ments in the past have reached. Poetry will become
the nobler interpretation of an ampler life. That vision
is in the future. But to some at least, here and now,
it is a vision and no dream."
Unless culture means vision, unless it means a sure
prophylaxis against the attitude of scolding, while the
scolder's eyes are closed, then it is not the genuine
attitude but a mere pedantic pose.
Llewellyn Jones.
Chicago, December 9, 1912.
COOPERATION IN BUSINESS AND
AGRICULTURAL RESEARCH.
(To the Editor of The Dial.)
In the issue of The Dial of November 16,1 read
with interest Mr. Josephson's communication regarding
a proposed institute of business and agricultural re-
search. You are probably familiar with Wilhelm
Ostwald's similar plan launched about two years ago,
known as " Die Brucke," having, however, a much wider
scope. Does Mr. Josephson contemplate any coopera-
tion with " Die Brucke "? If not, why not?
Max Batt.
Agricultural College, Fargo, N. Dak., Dec. 6, 1912.
[In reply to Dr. Batt's inquiry, I might say that
I most certainly contemplate cooperation with the
"Brucke," as with many other institutions, national
and international, not mentioned in my letter.—
Axsel G. S. Josephson.]


484
[Dec. 16,
THE DIAL
William Vaughn Moody.*
The two handsome volumes in which the com-
plete creative work of William Vaughn Moody
has just been published in definitive form de-
serve a heartier welcome than any other publi-
cation of the year. One of them contains the
two prose plays," The Great Divide " and " The
Faith Healer"; the other contains the trilogy—
"The Fire-Bringer," "The Masque of Judg-
ment," and a fragment of " The Death of Eve"
—the "Poems" hitherto published, a consider-
able number of later pieces which now for the
first time see the light, and a beautifully written
memoir of the poet, written by his friend, Pro-
fessor John M. Manly. Each volume has a
portrait frontispiece. We have spoken of these
volumes as containing all of Moody's creative
work, but this statement requires qualification.
Everything that Moody wrote had the creative
quality, and for a full understanding of his
genius one must not neglect to take into account
his scattered writings in prose, chief among
them being the introductions to his editions of
Milton and of "The Pilgrim's Progress," and
the school "History of English Literature"
which he wrote in collaboration with Professor
Lovett. It is pleasant to be informed that
another avenue of access to his personality will
presently be opened by the publication of a
selection from his correspondence.
Nevertheless, the main thing to be empha-
sized about Moody is that he was a poet by the
grace of God, and such a poet as had not been
raised up before him in America — or even in
the English-speaking world — since the eclipse
of the great line of the older singers. The first
decade of the twentieth century was the period
during which his powers came to fruition, and
within which practically all of his work was
done. He seems, then, to be the one authentic
"maker " that our young century has given to
the world, achieving a height that none of his
contemporary fellows-craftsmen in the poetic
art, either in England or America, could attain.
This being the case, it is upon the poems that
our attention should be mainly fixed, for the
two prose plays, fine as they are, seem almost
negligible in the comparison. They show their
author as a subtle revealer of human nature and
as an expert in psychological dramaturgy, but
* The Poems and Plays of William Vauohn Moody.
In two volumes. With portraits. Boston: Houghton
Mifflin Co.
they give slight evidence of his deeper inspira-
tion or of the magnificence of his lyrical gift.
Those who seek to discover in the circum-
stances of his nurture and environment the secret
of his power will be completely baffled. Born
in 1869 in Indiana — the commonwealth which
has been styled, perhaps somewhat unkindly,
the Bceotia of America—he was one of the seven
children of a steamboat captain. There were
English, French, and German strains in his
blood, happily blended, as the event proved.
He worked for his education, putting himself
through school; academy, and college by means
of teaching. He took a master's degree at Har-
vard, and a year later joined the staff of the
University of Chicago, where he taught English
for seven years. There is nothing in all this
which might not be paralleled in the life-histories
of thousands of other boys; if we are to look at
all for external influences in the shaping of his
genius, we shall And them rather in the friends
with whom he chiefly had intercourse, and in the
scenes to which he was led by the Wanderlust.
Walking in the Black Forest, bicycling over the
Italian mountains, climbing the Dolomites, rid-
ing through the Peloponnesus, "roughing it" in
the Colorado mountains and the Arizona desert,
visiting the countries of the Spaniard and the
Moor—these were the recreations of such ad-
venturous days as were vouchsafed him during
the years in which his was the common lot of
working for a living. He once wrote: "I started
in to-day on another quarter's work at the shop
—with vacation and restored consciousness three
months away." This attitude toward the ap-
pointed daily task—when that task is the noble
one of teaching—does not, as a rule, deserve
approval. But we can hardly blame a man like
Moody for assuming it, knowing, as we do, his
power to become a teacher in a still finer and
broader sense, and realizing how such a spirit
as his must chafe under any form of routine.
The "restored consciousness" which vacation
gave him was a consciousness of the release of
faculty which meant for him no hours of idle-
ness, but rather a resumption of sovereignty by
the creative impulse, urging to days of the most
strenuous spiritual endeavor.
The stupendous task which Moody set himself
in the trilogy is the highest which poetry has
ever attempted. It is the task of yEsohyhis and
Dante and Milton, the task of Goethe in his
"Faust" and of Shelley in his "Prometheus
Unbound." It is Milton's attempt to "justify
the ways of God to man" coupled with the at-
tempt of the later poets to justify the ways of


1912.]
485
THE DIAL,
man to God. It was the Great Synthesis, under-
taken by the emancipated modern spirit, the
fusing of God and his world into a monistic
scheme. "This thought," says Mr. Manly, "is
set forth in the first member, 'The Fire-Bringer,'
through the reaction on the human race of the
effort of Prometheus to make man independent
of God; in the second member,'The Masque of
Judgment,' through a declaration of the conse-
quences to God himself that would inevitably
follow his decree for the destruction of mankind;
in the third member,' The Death of Eve,' it was
intended to set forth the impossibility of separa-
tion, the complete unity of the Creator and his
Creation." What has been lost to the world
through the tragic fact of the poet's death before
he had put the last window in his Aladdin's palace
may be but faintly surmised. Some hints of his
intention were given to his intimates, enabling
Mr. Manly to prepare a statement from which
we quote. Eve, having survived ages of years,
"has undergone a new spiritual awakening, and
with clearing vision sees that her sin need not
have been the final, fatal thing it seemed; that
God's creatures live by and within his being
and cannot be estranged or divided from him.
Seeing this dimly, she is under the compulsion
of a great need to return to the place where her
defiant thought had originated, and there declare
her new vision of life. ... In the third act
there was to be a song by Eve, the burden of
which would be the inseparableness of God and
man, during which, as she rises to a clearer and
gentler view of the spiritual life, she gently
passes from the vision of her beholders." These
suggestions are precious enough, but they only
make more poignant our sense of loss. We
confess that we would rather have had the poem
completed than "the story of Cambuscan bold,"
or the tragedy of the Greek Gotterdammerung
which was left half-told in the "Hyperion" of
Keats.
Moody's mastery of his material was such as
only the greatest artists can exhibit. In the
trilogy, he shows himself to be equally familiar
with the Greek, Hebraic, and Christian myths,
to have seized upon their inner significance, and
to have saturated his soul with their beauty.
And when it comes to that supreme test of the
poet, the dramatic lyric, what music is at his
command! Listen to the Song of the Redeemed
Spirits:
"In the wilds of life astray,
Held far from our delight,
Following the cloud by day
And the fire by night,
Came we a desert way.
O Lord, with apples feed us,
With flagons stay!
By Thy still waters lead us!"
There is no conceivable process of human
thought, susceptible of analysis and exposition,
which could produce such a song as this. The
inspiration of genius will alone account for it,
as for the lyrics of Shelley, none of which is
more beautiful. And the same thing may be
said of the Songs of Pandora:
"Along the earth and up the sky
The Fowler spreads his net,"
and
"Of wounds and sore defeat
I made my battle stay,"
and
"Because one creature of his breath
Sang loud into the face of death,"
and, most wonderful of all,
"I stood within the heart of God;
It seemed a place that I had known."
Lyric utterance in English has never achieved
higher and purer strains than these. We may
say of them, as Symonds says of the lyrics in
"Prometheus Unbound," that they "may be
reckoned the touch-stone of a man's capacity
for understanding lyric poetry. The world in
which the action is supposed to move, rings with
spirit voices; and what these spirits sing, is
melody more purged of mortal dross than any
other poet's ear has caught, while listening to
his own heart's song, or to the rhythms of the
world." And added to the wonder of it all is
the fact that these songs sprang from the heart
of one who was with us in the flesh but yester-
day, whose eyes and voice and hand-clasp we
remember. Half a century hence, it may be
matter of boastful pride with young poets to
have spoken with one of the college students
who in their own youth saw Moody plain.
Nothing could be more superficial, or give
more convincing evidence of spiritual blindness
than the complaint that has been made against
Moody for his choice of major themes, speaking
of him as of one standing apart from life be-
cause he envisaged it through the medium of
Greek and Christian myths. As Mr. Manly
justly says: "Moody's ideas, though familiar
and indeed in many cases ancient themes of
art, are made new and vital by subjection to his
temperament and culture and by association
with the elements of his spiritual life. In later
years his main themes were social and economic
injustice, patriotism, the heart of woman, and
the relations of God and the soul, the meaning
of human life. To the reconception of all these
larger issues, he brought the richest intellectual


486
[Dec. 16,
THE DIAL
and emotional endowment possessed by any
American poet." The incredulous may retort
to this last assertion,
"Du sprichst ein grosses Wort gelassen aus,"
but we believe that time will justify it, and,
having once lache le mot in the quotation from
Mr. Manly, we hasten to give it our assent.
Returning to the original argument, it may be
said that even were we lacking all the pieces
which are concerned with strictly modern
themes, we should still find the modern note
dominant in the trilogy, for all its ancient
framework. As well say that Goethe's " Faust,"
because of its mediaeval subject-matter, had no
significance for the modern world, as say that
Moody's treatment of the Prometheus story was
a mere exercise in outworn modes of expression.
Rather than that, it throbs in every line with
the heart-beats of twentieth century thought
and feeling, and, so far from harking back to
the past, ever opens vistas of the future to our
gaze.
The reasons which persuade us that Moody
has a place among the great poets may be briefly
summarized. In the first place, he deals with
the supreme issues of life and thought, with the
destiny of man, and his deepest delvings into
the mystery of the universe. He has the cul-
tural equipment needed for such a task, and he
transfuses its elements in the crucible of his
genius until they emerge in new spiritual com-
binations. His vision is his own, fresh and vivid,
and his emotion has unfathomed depths. He
takes old themes and images, and "mingles
them with unaccustomed but predestined asso-
ciations." Coupled with his vision is a rich and
fervid imagination which seems inexhaustible in
its command of metaphor, and which invests his
thought with new creative shapes. A beautiful
illustration of this is taken from the great Ode,
where he speaks of the common grave of Robert
Shaw and his negro soldiers.
"Now limb doth mingle with dissolved limb
In nature's busy old democracy,
To flush the mountain laurel when she blows
Sweet by the southern sea.
And heart with crumbled heart climbs in the rose."
One would have thought this old conceit was
done with by the poets, yet Moody has enshrined
it in a form that owes nothing to his predeces-
sors, and that gives it a new significance. He
was preeminently a sane poet and a sincere one,
without a touch of morbidity or preciosity. He
loved words for their beauty, and had an almost
unexampled power to pack rich meanings into
a single epithet. "What names the stars have!"
he once said to us when An tares was mentioned.
A word was to him like a jewel, reflecting mani-
fold hues from its facets, or like the note of a
violin, with its gamut of attendant overtures,
which he made us overhear. And with all this
endowment he had the ear for music without
which no great poetry is possible. Equally in
his lovely lyrical measures, his free dithyrambic
passages, and his stately blank verse, he had the
sure sense of beauty that was the gift of the
Greeks, and of Milton, and of Shelley. We
think of Poe and Lanier as our American met-
rists, and it is probably an understatement to
say that Moody was their peer. Now that he is
made one with nature, now that our grief for the
sufferings of his last tortured days has become
softened by the ministry of time, we may take
comfort from the thought that no poet could,
with firmer assurance, face death with the
"Benediction " of Baudelaire upon his lips:
"Soyez be'ni, mon Dieu, qui donnez la souffrance
Comme un divin remede a nos impuretes,
Et comme la meilleure et la plus pure essence
Qui prepare les forts aux saintes voluptas!
"Je sais que vous gardez une place au Poete
Dans les raugs bienbeureux des saintes Legions,
Et que vous l'invitez a l'e'ternelle fete
Des Trones, des Vertus, des Dominations."
Who, if not the poet of "The Masque of Judg-
ment," to whom Thrones, Virtues, and Domina-
tions were familiars, could with clearer title look
forward to participation in God's everlasting
festival? William Morton Payne.
The IjAST Days of the Confederacy.*
The most original feature of General Schaff's
"The Battle of the Wilderness," the thing that
signally caught the attention of readers, was its
application of epic methods to historic narrative.
In the spiritual framework, the supernatural
machinery of that book, the author might almost
be credited with the creation of a new form in
literature. Probably to a good many sincere
minds this form was a stumbling-block. A dis-
tinguished fellow-soldier said to him, " When
you get done with your poetry and get down to
history you will write a valuable book." But
he did write a valuable book, an unique book,
one aglow with vision and emotion. Its peculiar
characteristics, its creative artistry, are what
make it stand out from the hundreds of nar-
ratives and records of the Civil War, though
* The Sunset of the Confederacy . By Morris Schaff.
With maps. Boston: John W. Luce & Co.


1912.]
487
THE DIAL
-
many of these are also told by eye-witnesses and
infused with personal emotion.
In essaying again a study of a single phase
of the Civil War, General Schaff had two
courses open to him. He might either bring
back his new-made myths, his figures of fancy
that brood above the scene and intermingle with
the actors, or he might trust to plain narrative
and the dignity of his theme. Very wisely, we
think, he has chosen the latter method, except
for a few brief and unimportant touches of the
old imagination. It is very doubtful whether he
could have captured again the thrilling effect of
his first creations. A warmed-up mythology of
visions and apparitions would have been fatal.
Another thing missing in the new book is the
story of personal adventure, which, threading
the great, glittering, and gloomy scenes of march
and battlefield, made them at once more convinc-
ing and lent to them an air of romance and gay
high spirits. We must count this a loss; though
in wholly suppressing himself in the presence of
the last great struggle, the author has obeyed
the dictates of the finest good taste. Everything
else that was apparent in the earlier book is
here: the vivid phrase; the» easy prose, pulsing
as with the systole and diastole of the heart;
the nature-painting, insistent and persistent.
Probably no historian has ever set his scene with
greater definition of view, more elaboration of
foliage and flowers. The bills, roads, streams,
houses are as real and vivid as the hosts which
struggle and fight among them.
As far as theme is concerned the advantage is
all with General Schaff's latest book. The battle
of the Wilderness, that confused and indecisive
struggle, that almost undecipherable scroll of
events unrolled under the glooms of the tangled
scrub-oak forest, has neither the unity nor the
importance of the final, fatal week of the Con-
federacy. Each book covers only the operations
of a few days, but in "The Sunset of the Con-
federacy" all the elements of great tragedy
appear clear and distinct.
The book opens with a scene out of a novel,
— Jefferson Davis and other dignitaries of the
South at devotion in St. Paul's Church in Rich-
mond, and the pompous sexton marching up
and down the aisle to call each one of them sepa-
rately out. The lines at Petersburg have been
broken, and the end is near. Then follows the
panic in the city, the departure of the trains
with government officials, the withdrawal of the
troops. Lee's seven days' retreat which ensues
is told with amazing minuteness and clearness.
It is not too much to say that the narrative re-
calls the art in De Quincey's " Flight of a Tartar
Tribe" or Tolstoi's description of the rout of
Bagration and his Russians in " War and Peace."
General Schaff's impulsive prose, which curvets
and prances and paws the ground like a high-
strung horse, makes good speed and hurries us
from side to side of the widespread flight, takes
us into Lee's rushing hampered columns and
into Grant's relentless cohorts of pursuit. The
objectivity, the open-air quality of the style is
noticeable, and not less so its waywardness and
off-handedness. General Schaff will interrupt a
cavalry charge to get down and paint some field
flowers or brookside blooming bushes. Yet the
whole thing is alive and rushing on.
Let us give a few specimens of the fresh and
vivid writing of the book — and first, of its
nature painting:
"I wish we could find a good, overlooking spot.
How will that little elevation down there in the valley
answer; that rises like an old-fashioned beehive on the
left of the road and has a brotherhood of four or live
big-limbed oaks crowning it, one of them leaning some-
what? Admirably! . . . Well, here we are: oaks spread-
ing above us, at our feet violets, liverwort, and spring
beauties scattered among acorn hulls, dead leaves, and
clustered grass. What a reviewing stand, and so near
the road that we shall be able to distinguish faces!"
Here is a night piece:
"Yet, reader, for loneliness — and every aide who like
myself has carried dispatches will bear witness to the
truth of what I say — give me a park of army-wagons
in some wan old field wrapt in darkness at the dead
hours of a moonless night, men and mules asleep, camp-
fires breathing their last, and the beams of day, which
wander in the night, resting ghost-like on the arched
and mildewed canvas covers."
And here is a battle picture:
"They were now advancing firmly with colors, and
there were so many standards crimsoning each body of
troops — to their glory the Confederate color-bearers
stood by Lee to the last, — that they looked like march-
ing gardens blooming with cockscomb, red roses, and
poppies. . . . The road was packed with men, their faces
grimly ablaze, colors flying, and over them, like a waver-
ing shield of steel, were their muskets at right-shoulder-
shift, as they trotted forward to the sound of the now
booming guns; for Gordon's and Fitz Lee's veterans were
answering the last call of the Confederacy with their old-
time spirit."
Perhaps what most of all imparts vitality to
General Schaff's work is the immense gallery of
human pictures painted from the intimacy of
comradeship or experience. Some of these are
full-length portraits, some mere heads, some
thumbnail sketches dashed in with a phrase.
And there is no West Point exclusiveness in
this commemorative work. The author is just
as ready to devote a paragraph or a page to
some unnamed soldier boy as to the proudest


488 THE
DIAL [Dec. 16,
1
general. Witness, for instance, the young sen-
tinel in gray who turns back the slave dealer
from the escaping Richmond train, or the young
lad with brimming eyes who attracts Major
Stiles's attention at field service and who next
day is shot dead. Naturally, however, most of
the portraits are of men of known name. Here
is Custer:
"After his promotion to a generalcv, Custer dressed
fantastically in olive corduroy, wore his yellow hair long,
and supported a flaming scarlet flannel necktie whose
loose ends the wind fluttered across his breast as, with
uplifted sabre, he charged at the head of his brigade,
followed by his equally reckless troopers, who, in loving
imitation, wore neckties like his own."
And here is Sheridan:
"Sheridan is mounted on Rienzi. Look at man and
horse, for they are both of the same spirit and temper.
It was Rienzi who with flaming nostrils carried Sheridan
to the field of Cedar Creek, 'twenty miles away'; and
on the field of Five Forks, the battle which broke Lee's
line and let disaster in. Before the final charge there,
the horse became as impatient as its rider, kicking,
plunging, tossing his head, pulling at the bit, while foam
flecked his black breast. Sheridan gave him his head,
when he saw that Ayres, at the point of the bayonet,
was going to carry the day; off sprang Rienzi and with
a leap bounded over the enemy's works and landed
Sheridan among the mob of prisoners and fighting
troops"
General Schaff apologizes for not giving much
attention to the greater Union leaders, as he had
dealt pretty fully with them in his previous
book. Grant and Meade, indeed, are kept rather
in the background, save toward the close when
the former of course takes the centre of the stage.
But Lee is painted minutely and lovingly, on
the march, at camp-fire, at council. Lee is the
hero of the book. Shall we wonder at this? Is
it strange that a Union officer, proud of his army
and its leaders, should at the moment of victory
draw back, give precedence to a defeated foe,
and offer the crown of glory to Lee and his
devoted veterans? No! It was their time of
tragedy and triumph. Except Napoleon's last
campaign before Waterloo, Lee's last year of
struggle against the North is the most wonder-
ful thing in modern warfare. General Schaff's
final tribute to Lee is too long to quote, but
here are its concluding lines:
"No, no eagle that ever flew, no tiger that ever sprang,
had more natural courage; and I will guarantee that
every field he was on, if you ask them about him, will
speak of the uuquailing battle-spirit of his mien. Be
not deceived: Lee, notwithstanding his poise, was nat-
urally the most belligerent bull-dog man at the head of
any army in the war."
Grave and tender and true is the North; gay
and ardent and courteous is the South! But we
think that for once the South is beaten out of
the field in its own qualities. We doubt whether
there is any Southern book more chivalrous in
generosity of judgment about Southern leaders
than is this; or a more emotional seizure of
the passion, pathos, and heroism of the last days
of the Lost Cause.
Charles Leonard Moore.
A Poet in Landscape.*
This study of the art of Homer Martin by Mr.
F. J. Mather, Jr., is of the same form as that on
the art of George Inness by Mr. Daingerfield,
which was reviewed in The Dial some time
since. It is a handsome little quarto, beautifully
printed, and illustrated with a frontispiece in
color and a dozen other reproductions. It is to
be hoped that these two volumes are only the
beginning of a series of monographs upon Ameri-
can Landscape Painters, and that they will be
speedily followed by volumes on Cole, Durand,
and Church, and others after as well as before
Homer Martin. It will be difficult to find au-
thors as competent as Mr. Mather, who has an
intimate knowledge of his subject as well as
wide artistic reading and long practice in criti-
cism. One addition may be suggested to such
volumes: they certainly ought to have a list of
the paintings of the painter they discuss, and,
one would think, also a bibliography. They are
necessarily expensive books, but their price is
doubtless none too much when the typography
and execution are considered, as well as the mar-
ket. As the publisher seems to have done every-
thing that could be asked of him, one would say
that the author should do so too. If these books
are to be merely attractive tokens of regard to
be passed around among friends or to lie on club
tables they will, of course, need only typography,
pictures, and criticism. If, however, they are
really to take the place of authoritative mono-
graphs, they ought to appeal to the student as
well as to the amateur. And the student,
although perhaps not entitled to a bibliography,
would seem to be entitled to a list of works.
Mr. Mather, of course, has material for a list of
Homer Martin's work that ought to be more com-
plete than anyone else possesses; it must be the
basis of his work. And if that work is to receive
the intelligent criticism which alone will give it
the place it ought to take, others ought to have
advantage, at least, of his knowledge of where
the materials for study are to be found. In
•Homer Martin: Poet in Landscape. By Frank
Jewett Mather, Jr. Illustrated. New York: Frederic Fair-
child Sherman.


1912.]
489
THE DIAL
this way a foundation would be laid for a real
knowledge of the subject, which would finally
be of ultimate use to the student of American
art. Mr. Mather's criticism has great and dis-
tinguished value; but if it is to remain a real
contribution to the history of American painting,
if it is to maintain itself above the ordinary dilet-
tante club-talk, it should be reviewed by people
who have studied the same materials that he has.
Not having the advantage of any such knowl-
edge of Homer Martin's work as Mr. Mather,
and relying on the other hand only on such gen-
eral information as to American landscape paint-
ing as is open to hundreds of others, I can offer
but a desultory and slightly founded criticism
of the estimate of Homer Martin here offered.
If my views appear to be based upon an insuffi-
cient knowledge it will be largely due, I believe,
to the very lack of opportunity for thorough
critical study given not only by this monograph
but by most works dealing with the general
subject.
And first as to Martin's general position.
Mr. Mather says that " Martin frankly accepted
the traditional scenic ideal of landscape paint-
ing and always remained faithful to it" (p. 15);
that he was " the last and greatest expression"
of the movement which he himself is said to have
called the Hudson River School (p. 16); that
"he actually realised what had been merely the
ambition of Durand and Cole" (p. 15). I be-
lieve that this is very true as far as it goes, but
it does not appear to me to go far enough to be
really definitive. What was the Hudson River
School? What was " the ambition of Durand
and Cole "? One would gather from the lan-
guage that they had the same ambition. That,
however, was not the case; they had very differ-
ent ambitions, and their paintings, which look
wholly different even to the haphazard amateur,
were the expression of very different ideas. Now
Homer Martin, to judge from Mr. Mather's
whole treatment, did not have the ideals of either
Cole or Durand, nos was his accomplishment
like that of either. The painter who realized
what had been merely the ambitions of Cole and
Durand was Frederick E. Church: he had the
grandiose romanticism of Cole and the affec-
tionate naturalism of Durand. Martin would
seem to me to have had neither. It may be that
I misinterpret Mr. Mather when he speaks of
the ambition of Durand and Cole, or of the tra-
ditional scenic ideal of landscape painting. He
may mean merely the ambition really to present
the wonderful and characteristic notes of Amer-
ican scenery, those things wherein America was
different from the rest of the world, those things
which might make, or even necessitate, an
"American School" of landscape. Those things
were, in the mind of Thomas Cole, a glorious
liberty and power, wild and often fierce, as ex-
pressed in mountain and lake, crag and forest;
and such things he loved to paint with romantic
largeness. In the art of Durand the dominant
idea seems to have been the sufficing energy and
strength which created the mountains and forests
alike, and hence with him the idea of truth and
detail was most important. Homer Martin did
not have either of these ideas. Yet as you look
at his " Lake Sanford " or " The Sand Dunes,
Lake Ontario," you feel as though he had some-
thing which superseded both and was naturally
finer than either. But just what this "some-
thing" was I do not find in Mr. Mather's esti-
mate, and miss it. Mr. Mather shows that
Martin had the ability to render the grandeur
of form and wide space that seemed to him the
dominant factors in the American scene, and to
render it in the painter's style; but I do not
find that he has anywhere made a sufficient and
convincing statement of the matter. The gen-
eral estimate, however, whether fully stated or
not, is a real contribution: it shows critical
insight as well as sufficient knowledge; it is
just the kind of thing we need.
The second point that I would speak of is the
question why Martin was not popular in his
later days. He was obviously not, and indeed
could hardly sell his later pictures for any sum
however small. I note the matter because it
seems, very characteristic, and indeed explana-
atory of Martin's whole life. Mr. Mather
makes the fact clear, but says that he will
merely note it without comment. His subject,
he says (p. 63), is "a particular artist and not
the various pseudo-esthetic forms of human
vanity." That, of course, is the case, and yet
I believe we should have a better idea of what
Martin's art really was, if we had a definite
statement of why it differed from the art in favor
in the later years of the nineteenth century. It
was not till after Martin's death that his pic-
tures commanded any sort of price, and then
they became so valuable that they were fabri-
cated for the trade. Now it seems to me very
clear why a public which in 1890, say, admired
Monet and Pissarro, and would certainly buy
pictures like those of Twachtman (not to men-
tion other men still living), would not buy the
pictures of Homer Martin, and I should say that
a statement of the fact would make very clear
just what Homer Martin really was.


490
[ Dec. 16,
THE
DIAL
1 should range the leading figures in Amer-
ican landscape somewhat in this way: first
(after the very beginners) Thomas Cole, who
expressed the predominating romanticism of his
time, which soared aloft like a rocket and
blazed out into darkness in the work of Moran,
Bierstadt, and Church; second Durand, who
represented a sort of pre-Raphaelitism which
though very pervasive never produced any
painter greater than Durand himself; then
George Inness, who represents the influence of
the Barbizon group and is the greatest man
in America produced by that influence; then
somebody still living (one needn't say who)
who will stand for Impressionism; and finally
the painters of our own day. Now among
these influences and periods, the place of Homer
Martin, as I understand him and his work, is
that he continues the ideas of Cole and Durand,
in the sense already stated, in the time of George
Inness. It appears to me very natural that he
was never popular, nor even very interesting.
Not interesting,— except, of course, to those
who love beautiful painting without regard to
periods or influences or theories or fashions, who
can be thrilled by noble emotion even when con-
veyed by unfashionable technique, and by fine
technique even when it has no passion but that
of the workman. I love the pictures of Cole;
the painting of his time was awful, but I like
his grandiose romanticism. I love equally the
pictures of Inness, though I cannot say I have
much sympathy with his views on the poetry
of nature. But there are also a number of
painters among our American landscapists who
seem chiefly to be painters, without much refer-
ence to other people or to any ideas other than
their own. Such I take to be Thomas Doughty
in our early history, a man who seems to have
been quite unable to accommodate himself to
the rising passion of his time for crags and
cataracts, lakes and mountains. So he painted
persistently glimpses of the Hudson and views
of Fairmount Park, for which people cared little
in his day and would care little now were it not
in recognition of his fine artistic spirit. Some-
thing of this sort is Homer Martin, as Mr.
Mather presents him to us,—a man in love
with the greatness of nature at a time when
people were charmed with her littlenesses, a man
who would paint a mountain-top or an inland sea
at a period when people in tune with their time
were absorbed in the poetry of the door-yard,
of the pair of bars, of the haystack. Other men
with ideas like his own could maintain them-
selves by the adventitious aid of tropic splendor
or exotic associations. But Martin appealed to
nothing adventitious, to nothing that was not
of the essence of art. He had the sentiment
of grandeur, and he was bent on rendering it
grandly. He could not possibly have adopted
the combination of the grand ideas of Cole and
the nice minutiae of Durand that Church and
Bierstadt showed was possible. He came fifty
years after Cole and Durand, and he knew a bet-
ter way of painting than either of them. So he
pleased neither the multitude with his fine execu-
tion nor the virtuosi with his noble imagination.
What a pleasure to find someone to write and
someone to publish a monograph upon an Amer-
ican landscape painter! It is much to be hoped
that people will be found to buy and read; but,
after all, the writing and publishing are the
main thing. I am sure it is as well worth doing
as a monograph upon some obscure Italian of
the fourteenth century or some Frenchman of the
eighteenth. It is certainly much more difficult.
With the old-time obscurity you have quite a
limited set of facts to work with: different
critics will arrange them in different ways, but
there are not enough for more than a conjectural
estimate at best. With a man of our own, or
almost of our own, time, the flood of facts is over-
whelming, and the labor certainly is astonishing
if the result does not seem very splendid. Would
that students of literature would give to Amer-
ican work the toil and the care which they con-
secrate to often inferior workers of remote time
and place. With the tried and tested means of
modern criticism what may not be found in the
history of art in America, by those who are as
capable and as willing as Mr. Mather?
Edward E. Hale.
The Saint of Assisi.*
Since Paul Sabatier published his Vie de S.
Francois sixteen years ago there have been over
thirty French editions of the work, an excellent
English translation, and several other foreign
translations. Thus the wonder-story of the great
mediaeval saint has become known to thousands
of modern readers and students, and has been
incorporated into text-books and college courses
dealing with European history and culture.
Yet it is well known that competent critics have
*Saint Francis of Assisi. A Biography. By Johannes
Jorgensen. Translated from the Danish, with the anthor's
sanction, by T. O'Conor Sloane, Ph.D. New York: Long-
mans, Green, & Co.
Everybody's Saint Francis. By Maurice Francis
Egan. Illustrated in color, etc., by M. Boutet de Monvel.
New York: The Century Co.


1912.]
491
THE
DIAL
pointed out how warped and misleading much
of Sabatier's interpretation is, especially his
emphasis on the personality of Saint Francis in
conflict with the Church of his time and with the
tendencies towards corporate growth on the part
of his order. The appearance in English, there-
fore, of two thoroughly orthodox biographies of
Saint Francis, of popular character, will be wel-
comed by Catholic scholars, while the general
reading public will have a chance to make the
acquaintance of the saint through these new
books. The first of these is an English trans-
lation, by Dr. T. O'Conor Sloane, of the Danish
scholar Jorgensen's "Saint Francis of Assisi,"
a detailed and scholarly biography; while the
second is a much more popular work entitled
"Everybody's Saint Francis," by the well-known
American Roman Catholic writer, Dr. Mau-
rice F. Egan. Jorgensen's book has five excel-
lent photogravure illustrations from thirteenth
and fourteenth century portraits and manu-
scripts; while Dr. Egan's simpler chapters are
adorned by twenty full-page drawings (eight of
them in color) by the famous French artist,
M. Boutet de Monvel.
In dealing with the life of Saint Francis, the
Danish scholar adopts a reverential attitude
towards the sources, and gives a careful narra-
tive account of all that is told on good author-
ity concerning his subject. He does not indulge
in critical discussions or excursions, but states
his facts simply and briefly. The visions,
miracles, and stigmata are either accepted as
true or passed over as legends, and we have the
story of the saint as known and believed in by
his best informed contemporaries and followers.
The biography is somewhat symmetrically organ-
ized into four books, dealing respectively with
Francis as Church Builder, Evangelist, God's
Singer, and Hermit; with an interesting appen-
dix, originally the introduction to the Danish
edition, on the authorities for the life of the
saint. Although the original Danish work ap-
peared in 1906, no attempt has been made to
bring this appendix up to date; and its bibli-
ographical value, while considerable, would be
much greater had it been revised and new works
added. It is evident from the foot-notes that
Jorgensen has made very considerable use of
the scholarly studies and articles of Professor
Gbtz of Munich, and yet this critic of Sabatier
and Muller is barely mentioned in the section
on modern authorities.
That Saint Francis was a man of his time,
that he was thoroughly orthodox in his theology
and in his relation to the Church, and that he
was in sympathy with the early aspects of his
Order's growth are the views expressed by Jor-
gensen. As an illustration of his viewpoint we
may cite the following paragraph from Chapter
IV. of Book III., in regard to the origin and
early character of the Franciscan Order:
"The community of Brothers, which Francis of Assisi
had founded, was from the very first an order of peni-
tents and apostles, and Francis himself was the Superior
of the Order. He it was who had written the Rules of
the Order and bad promised obedience to the Pope, he
it was to whom the permission to preach was given, and
through whom the others participated therein. It is
certain that the first six Brothers had the same right as
Francis to receive new members into the Order, but the
the new members were taken to Portiuncula, there to
receive the robe of penitence from Francis himself.
This reception into the Brotherhood was regarded as
equivalent in weight to the old time conversion of the
orders of monkhood — by it one left the world with its
pomp and glory. As a sign of this the supplicant gave
his possessions to the poor."
In such a passage we have no implication of
difference of viewpoint as to his Order between
Saint Francis and the Church, no hint of a tran-
sition of a simple lay order into an ecclesiastical
brotherhood of formal character, but merely a
simple statement of origin and character. A
great deal of the interest and charm of Sabatier's
life of Saint Francis lies in the close personal
touch between author and subject, and the con-
stant effort to convey what the author thinks
were Francis's own feelings and viewpoints.
Jorgensen is content to give the historical facts
and happenings as he finds them in the sources,
and does not attempt any psychological inter-
pretation. The result is that Sabatier is more
interesting and stimulating reading, while Jor-
gensen must be considered as better historical
biography.
The work of translating Jorgensen's book
from the Danish original has been well done by
Dr. T. O'Conor Sloane, though certain curious
errors of translation and phraseology indicate
that Dr. Sloane is not himself a close student of
mediaeval monasticism. To call the " Order of
Friars Minor " the " Order of Smaller Brothers"
seems inexcusable; nor should the well-known
"Legend of the Three Companions " be referred
to as "the Three Brothers Legend." Other
such errors, and many inconsistencies of spell-
ing and usage, might be pointed out; but such
criticism is tedious. The index to the transla-
tion is only fairly satisfactory, being made up
largely of proper names,— "stigmata," for
example, is omitted from the index. A useful
feature, however, is a special index for the bib-
liographical appendix, this index being much
better than the one for the main work.


492
[Dec. 16,
THE
DIAL
Dr. Egan's " Everybody's Saint Francis" is
an eminently readable and popular account of
the mediaeval story of the saint. Appearing
originally in a well-known monthly magazine,
with the remarkable illustrations of M. Boutet
de Monvel as their accompaniment, they were
read with pleasure by many persons who ordin-
arily do not come into such close contact with
mediaeval hagiology. In its present form the
work makes a most attractive gift-book, and will
be especially appropriate for those meditating a
winter visit to Italy. It is apparent that Dr.
Egan's aim has been literary rather than criti-
cal or historical. It is the legendary Saint
Francis that he is interested in rather than the
strictly historical personage. The wonderful
story of the Wolf of Gubbio is given in detail,
also the story of the birds; and we are told,
seemingly in all seriousness, that Francis went
among the Mohammedans of Morocco "during
the crusade of Saint Louis," though in reality
Francis had died thirty-three years before
Louis's crusade to Tunis took place. Again,
Dr. Egan states that Francis died " in the for-
tieth year of age," on October 3, 1226, while
he gives the date of his birth as 1181 or 1182.
Attractively as Dr. Egan tells his story, it is
surely to be regretted that he is not more accu-
rate and historical in the handling of his subject.
As a piece of brilliant literary description his
chapters are admirable, but they have too much
of the quality of a fairy tale.
Norman M. Tkenholmk.
New Memorials of the English
Cathedrals.*
England's famous highways are many and
smooth: and on them and from them spreads a
network of beaten paths leading to the noble
churches which are her priceless heritage from
the Middle Ages. Now, as then, these paths
are worn by the tramp of countless pilgrims'
feet. The fourteenth century pilgrim, however,
confined his visits to the great shrines like Can-
• English and Welsh Cathedrals. By Thomas
Dinhani Atkinson (Architect). Illustrated in color, etc.,
by Walter Dexter, K.B.A. Boston: Little, Brown, & Co.
The Cathedrals or England and Wales. By
Francis Bond. Fourth edition, revised and enlarged. Illus-
trated. New York: Charles Scribner's Sons.
Ocr English Cathedrals. By James Sibree, Fellow
of the Royal Geographical Society. In two volumes. Illus-
trated. Philadelphia: J. B. Lippincutt Co.
Memorials of Canterbury Cathedral. By C.
Eveleigh Woodruff, Six-pre:»cher of the Cathedral, and
William D inks, Canon Kesidentiary. Illustrated by Louis
Weirter, R.B.A. New York: E. P. Dutton & Co.
terbury, "the holy blisful martir for to seke,
That hem hath holpen, whan that they were
seke "; while his secular successor of the twentieth
century is urged along by curiosity or the thirst
for aesthetic impressions, and is limited only by
the conditions of time and purse. From fortress-
like Durham to brand-new Truro, from stumpy
Carlisle to historic Canterbury, every one of the
English cathedrals is sought and scanned by
thousands of more or less intelligent visitors.
Herded and hustled by the verger, they gaze
on the storied beauties of arch and buttress, of
transept and towers, of rose window and fan
tracery; and then, after inscribing their names
in the visitors' book and depositing their six-
pences "for the maintenance of the Fabric,"
they move reluctantly away, wondering how
much they can remember of it all.
For these and the stay-at-home readers there
has been no lack of literary helps, "before and
during and after." The desiccated but trusty-
handbooks of Murray and Baedeker and the in-
valuable volumes of "Bell's Cathedral Series"
are portable and useful during the visit; but
larger monographs and more comprehensive
treatises have never been wanting to chide and
correct the reader's ignorance, to stir his imag-
ination, and to leave him with an adequate
appreciation of the architectural and historical
significance of these "masses of gray stone," in
which, as Ruskin says, " the mediaeval builders
have left us their adoration." Mrs. Van
Rensselaer's well-known book on English Cathe-
drals has for twenty years done this great ser-
vice for Americans so far as the twelve principal
churches are concerned; would that she had
pushed the plan to completion and had given
us the story of the whole thirty-six English and
Welsh cathedrals.
That the subject is one of perennial interest
would seem to be indicated by the recent appear-
ance, at about the same time, of three books with
practically identical titles. The largest of these
is by Mr. Thomas Dinham Atkinson, who, in
his own words, " has aimed to sketch the his-
tories of our cathedral churches in their broader
aspects, and to connect each so far as is possible
in narrow com pass with the main stream of archi-
tectural history"; but also "to approach the
subject from the point of view of the architect—
the constructor," Following the main line of
cleavage between the old monkish foundations
on the one hand and those served by secular
canons on the other, the author adds to these
the foundations of Henry VIII. and the new
sees created in modern times, and adopts this


1912.]
493
THE DIAL,
order in his descriptions. Within the two chief
divisions — the canons' churches and the monks'
churches — the arrangement is topographical,
Mr. Atkinson insisting that " the whole of En-
gland may be easily mapped out into districts,
each with its distinctive manner; which is so
easily recognizable that an antiquary aUghting
from an airship would at once take his bearings
from the style of the architecture that he saw
about him." The striking characteristics of the
two camps are seen in "the vast Norman naves
of the monks in almost every church from
Norwich to Gloucester and from Durham to
Rochester, and in their massy towers from St.
Albans to Shrewsbury. The churches of the
secular clergy have a warmth of color, a gener-
osity of sculpture, a beauty and certain gracious-
ness of manner, which characterize the fully
developed mediaeval architecture."
The marked differences between French and
English cathedrals are re-told and explained—
the long, low, narrow English churches with
their central towers, square east ends, and
western transepts contrasted with the short and
wide plans, lofty vaults, and faintly emphasized
transepts of the French — the trim lawns and
immemorial elms which lend an air of peaceful
seclusion to Salisbury set over against the high-
shouldered roof of Amiens rising far above the
huddled town at its feet. Of these and kindred
features Mr. Atkinson writes with professional
authority, and in a clear, succinct style which
keeps the pages free from any load of techni-
cality. The story of each church is made graphic
by plans and photographs, and alluring by softly
beautiful colored plates, which give to the dome
of St. Paul's its true misty atmosphere and make
the spire of Salisbury like one of Constable's
pictures of it (without the rainbow). There is
a good index, and a useful chart showing in ver-
tical columns the "biography " of each cathedral.
Few slips are to be noted: in the Latin inscrip-
tion over Wren's tomb "urbs" should be
"urbis"; and the insertion of the word " Salis-
bury " after "the new town " on p. xxi. would
make for clearness. On the whole, this is an
excellent one-volume presentation of a fascinat-
ing and wide-spreading theme.
In Mr. Francis Bond we have an old acquaint-
ance as a guide, philosopher, and friend for the
study of ecclesiastical architecture. The first
edition of his " English Cathedrals Illustrated"
was published in 1899, and was soon accepted
as a standard work, in spite of the fact that it
contained no ground plans, so indispensable to
reader and visitor alike. The work now appears
in a fourth edition, with various important
changes. Beside supplying the ground-plans,
Mr. Bond has rejected the time-honored nomen-
clature of Rickman and others, which "at-
tempted to thrust the history of every cathedral
into a Procrustean framework of Norman, Early
English, Decorated, and Perpendicular periods.
... In this volume the actual building periods
are treated separately, and no attempt is made
to cram them into arbitrary imaginary compart-
ments." This seems pretty strong, in view of
the acceptance of the traditional divisions by
most authorities and the fact that so good an
authority as Mr. Bond was willing to accept
them only thirteen years ago.
Having settled the way in which the biog-
raphy of each church should be studied and the
interpretation of motive of the different builders,
Mr. Bond adopts the following classification of
English and Welsh cathedrals: 13 of the Old
Foundation (pre-Conquest); 13 of the New
Foundation, receiving a dean and secular canons
at the Reformation; and 10 of modern founda-
tion. He then proceeds to describe them in
alphabetical order, keeping the four Welsh
cathedrals by themselves, and reserving for the
concluding chapter a brief account of Birming-
ham, Liverpool, and Truro. He writes with
the full knowledge obtained from professional
training and repeated personal visits to all the
cathedrals. To his keen technical interest he
adds the ardor of an enthusiast, which occasion-
ally passes into something like extravagance;
and his superlatives are as numerous as they
are — pardonable. Everyone who has visited
the English cathedrals has felt the strain on his
emotional nature as he contemplated the special
feature or features of each — the octagon of
Ely, the spire of Salisbury, the stained glass of
Lichfield and York, the situation of Lincoln and
Durham, the east windows of Carlisle, York,
Gloucester; and it is difficult to speak of such
glories with a chastened vocabulary. Each is
the best at the time; and we can smile with
sympathy at such passages as the following,
which seem to warn us that if Exeter remains
un visited all is lost:
"Whatever else, then, the student and lover of Gothic
architecture omits, he must not fail to visit Exeter. He
will find it fresh and different from anything he has
seen before. Its unique plan, without central or western
towers, the absence of obstructive piers at the crossing,
the constantly uninterrupted vista, the singleness and
unity of the whole design, the remarkable system of
proportions, based on breadth rather than height, the
satisfying massiveness and solidity of the building, in-
side and outside, the magnificence of its Purbeck piers,
the delightful color contrast of marble column and sand-


494
[Dec. 16,
THE
DIAL
stone arch, the amazing diversity of the window tracery,
the exquisite carving of the corbels and bosses, the
wealth of admirable chantries, screens and monuments,
the superb sedilia, screen and throne, the misericords,
the vaults, the remarkable engineering feat from which
its present form results, the originality of the west front
and oT the whole interior and exterior, place Exeter
cathedral in the very forefront of the triumphs of the
medheval architecture of our country."
Mr. Bunds eulogies, though highflown, are
not indiscriminate. He passes a severe and mer-
ited criticism on the defects of St. Paul's, some
of them Wren's own, some forced on him by
the prejudice and ignorance of others. For
example, the change from Wren's first plan of
a Greek cross to that of a Latin cross brought
with it the vaulting of the nave with small
saucer-shaped domes—a moit unhappy intro-
duction to the majesty of the central dome.
And the unfortunate dead wall on the sides of
the church, reaching from aisle windows to
cornice, is condemned by Mr. Bond in vigor-
ous terms. He quotes with approval another
writer's characterization of it as "the most
unmitigated building sham upon the face of the
earth"; and adds, "It has absolutely nothing
to do at all except to hide away some flying
buttresses — the very ugliest eye ever saw —
which Sir Christopher might well be reluctant
to expose to the jeers of the man in the street.
... It has been urged that it was built to
weight the foot of each flying buttress after the
manner of a Gothic pinnacle. But not even a
Gothic baby would have provided continuous
abutment for intermittent thrusts."
Aside from extremes of praise and blame,
Mr. Bond's style is generally alert and con-
vincing. He is decided but not bigoted; and
gives generous space to other people's impres-
sions, reproducing a large part of Mrs. Van
Rensselaer's well-known description of Lich-
field, which has almost become a classic. Plans
and illustrations abound, the latter from excel-
lent photographs; and help to round out very
satisfactorily this useful and handsome book.
The Rev. James Sibree is a genial and well-
informed clergyman who has all his life cherished
a hobby for English church architecture. As
a lad, his first visit to Lincoln opened his eyes
and roused his interest; and though for forty-five
year 3 engaged in missionary work in Madagascar,
his furloughs have been largely filled with visits
to his first loves; the result being a work in two
small volumes, appropriately bound in episcopal
violet. Instead of Mr. Atkinson's division into
monks' and canons' churches, and Mr. Bond's
alphabetical arrangement, Mr. Sibree follows
geographical lines,—Vol. I. being devoted to the
northern cathedrals, Vol. II. to the southern;
which after all is a pretty good plan. So we are
taken at once to York, Carlisle, and Durham,
and ten others; the remaining nineteen and the
four Welsh cathedrals being reserved for the
second volume.
In spite of his modest disclaimers, Mr. Sibree
turns out to be a delightful guide and compan-
ion, with plenty of affectionate enthusiasm tem-
pered by sound judgment, and plenty of literary
as well as architectural perspective. He is a
good specimen of the English parson at his best,
honestly proud of those historic fabrics which
have kept their existence through centuries of
Catholic gorgeousness, the simpler glories of
the Protestant ritual, and the ill-timed assaults
of Puritan iconoclasm; and he is delighted to
show them to all who will come with him. His
little book is well buttressed (the word seems
appropriate) with various kinds of helps and
props for readers' memories. There is, to be
sure, no index; on the other hand, there is a
table showing the periods of English architec-
ture according to the time-honored nomenclature
eschewed by Mr. Bond; a series of block plans,
useful as showing the comparative sizes of the
cathedrals, from lordly York with 63,800 square
feet of surface down to little Oxford, with its
11.300; a glossary of architectural terms; a
good bibliography; and an abundance of illus-
trations from photographs. A sketch map shows
the distribution of the English and Welsh cathe-
drals, their nearness to the coast suggesting
the slow progress of Christianity to the interior
of the island. Another novel feature of the
book is an excellent anthology on cathedrals,
selected from British and American poets and
prose writers.
It would be difficult to conceive of a more
exhaustive history of any building than is com-
prised in the " Memorials of Canterbury Cath-
edral," by C. Eveleigh Woodruff, one of the
"six-preachers" of the Cathedral, and William
Danks, residentiary canon. The design of the
work, which is a thick octavo of five hundred
pages, has been "to write a trustworthy, com-
plete, and compendious account of the Cathedral
from the earliest times to the present day." As
is well known, the history of Canterbury falls
into two great divisions: first, its existence as
a Benedictine church and convent from early
Saxon days down to the sixteenth century; sec-
ond, its conversion by Henry VIII. into a secular
foundation with dean and canons, which remains
the regime of to-day. To accomplish the au-


1912.J
495
THE
DIAL
thors' purpose, it has accordingly been neces-
sary to confine the range of view strictly to the
church and its custodians, namely, the prior and
convent before, and the dean and canons after,
the "Reformation" of the sixteenth century;
From this aspect it is remarkable how the priors
loom and the archbishops dwindle. The range
of the Primates was nation-wide, sometimes con-
tinental; but the prior and his monks stayed at
home with their beloved church, building and
expanding, watching and tending, its material
fabric. They were the real tenants and house-
keepers: the Archbishop was too often an ab-
sentee landlord, who visited his cathedral only
to meddle and disturb. So in this deeply inter-
esting narrative we read more of Ernulf, Conrad,
Eastry, Chillenden, Goldstone, and Sellinge
than of even Becket, Stephen Langton, Rich,
Chichele, Cranmer, Pole, Laud, and Juxon.
Our two writers have collaborated with
marked success. Mr. Woodruff's initials are
appended to a majority of the chapters; while
to Mr. Danks we owe, among other things, a
long but valuable chapter on "The Life of the
Monastery," a vivid and informing picture of
mediaeval conventual life. The authors have
written with full knowledge based on long resi-
dence, first-hand examination of the archives,
and a discriminating use of such standard
authorities as Somner's "Antiquities of Can-
terbury," Willis's " Architectural History of the
Cathedral," and Dean Stanley's "Memorials
of Canterbury." The book is well supplied
with illustrations from drawings by Mr. Louis
Weirter, and with tables of all sorts of details
pertaining to the economy of the "metropol-
itical " church, from the marketing accounts of
the mediaeval convent down to the last stop in
the modern organ. These minutiae are for the
curious in such matters; and do not interfere
with the success of the work's aim to be both
compendious and readable.
Josiah Renick Smith.
A batch of nine new volumes in the "Home Uni-
versity Library" (Holt) serves to deepen our im-
pression of the admirable character of this series of
handbooks of modern knowledge. The series now
numbers fifty-five volumes, each having its definitely
circumscribed subject, each subject treated by a com-
petent hand. Among the new volumes, two in par-
ticular arrest our attention: "The Colonial Period,"
by Dr. Charles McLean Andrews; and "Great Amer-
ican Writers," by Professors W P. Trent and John
Erskine. The latter volume is a brief history of
American literature, emphasizing the importance of
the great names, yet neglecting nothing of significance
in our literary annals.
Holiday Publications.
n.
Books of Travel and Description.
"South America" (Macmillan), "painted by
A. S. Forrest, described by W. H. Koebel," as its
title-page announces, is indeed a book in which the
artist's share is more conspicuous, even if not in real-
ity more considerable, than the author's. Seventy-
five pictures, full to overflowing of local color in
an almost dazzling brilliance of tint, meet the eye as
one turns the broad pages of the handsome vol-
ume; and this brave display accords well with Mr.
Koebel's chapters on what he considers to be the
continent "which at the present time holds more
romance than any other out of the great divisions
of the world." But it is, as he insists, " no longer
an area populated in parts: it is a continent of pow-
erful and growing nations." He begins his de-
scriptive matter with Argentina, then follows with
Bolivia, Brazil, Chile, Guiana, Paraguay, Peru, and
Uruguay, and closes with the northern republics,
Colombia, Ecuador, and Venezuela. In the opening
of chapter seven one suspects a misprint, rather
than a confusion of thought on the author's part, in
the assertion that "from the ascetic point of view
Paraguay leaves little to be desired"; for the writer
proceeds to tell us how the country glows with
flowers, abounds in tropical luxuriance of verdure,
and, in general, "is not wanting in colour and life."
"Artistic" may have been written or intended, not
"ascetic." Certainly the country seems to have left
Mr. Forrest little to desire from the artistic point
of view, since eight strikingly brilliant pictures
illustrate the short chapter devoted to the Para-
guayans and their wonderful land, whose atmos-
phere Mr. Koebel finds to be "generally that of
romance." Large print, an adequate map, and a
four-page index are among the welcome features of
this tropically luxuriant volume.
Almost ninety years have passed since Robert
Chambers wrote his "Traditions of Edinburgh," a
book twice remodelled and enlarged by him, and now
for a third time revived and placed before the pub-
lic in an edition enriched with thirty illustrations in
color and more than twice as many pen-and-ink draw-
ings, a map of the city, old and new, a few additional
notes, and an index. Mr. James Riddell is the artist,
and he has done his part in a way to please all who
open the book. The quarto size of the volume admits
of unusually large plates, and they are rich in their
color effects, while the pen-and-ink sketches have a
quieter charm. The author's preface to his edition
of 1868 is reprinted, and it will interest the reader
to learn the circumstances attending the first issue
of the book. "This little work," we are told, "came
out in the Augustan days of Edinburgh, when Jef-
frey and Scott, Wilson and the Ettrick Shepherd,
Dugald Stewart and Alison, were daily giving the
productions of their minds to the public, and while
yet Archibald Constable acted as the unquestioned
emperor of the publishing world. I was then an insig-


496
[Dec. 16,
THE DIAL
nificant person of the age of twenty; yet, destitute as
I was both of means and friends, I formed the hope
of writing something which would attract attention.
The subject I proposed was one lyingreadily at hand,
the romantic things connected with Old Edinburgh."
The subject proved fruitful even beyond expectation,
the old inhabitants contributing willingly and abund-
antly of their early memories; and thus came into
being the earliest and perhaps still the best of the
informal guide-books to Edinburgh that have ap-
peared in such quantity and variety. In its latest
form it is a volume of imposing proportions and
handsome appearance. (J. B. Lippincott Co.)
Mr. Dwight L. Elmendorf, popular lecturer and
expert photographer, has turned his skill with pen
and camera to good account in a richly illustrated
volume of travel in Palestine. "A Camera Crusade
through the Holy Land" (Scribner) contains three
short preliminary chapters on "The South," "The
North," and "Jerusalem," touching especially on the
Bible associations recalled by different scenes in the
course of the author's travels; and then follow the
camera views themselves, each a full-page plate, with
an appropriate scriptural quotation and a number of
Bible references on the opposite page. The land-
scapes are all admirable for clearness and finish,
and animals and human beings are caught in lifelike
pose. There are one hundred of these pictures, the
frontispiece, showing a woman of Samaria, with a
water-jar on her head, an infant on one arm, and
two little girls at her side, being colored with much
verisimilitude. The cover of the book, with its red
cross on a gold shield, and other appropriate decora-
tions, is aesthetically satisfying.
The spell of Egypt has been given attempted inter-
pretation by many artists, but by none more success-
fully we should say than by Mr. Walter Tyndale,
R. I., whose volume on the Pharaohs' country pub-
lished a few seasons ago will be remembered as a
gift-book of unusual charm. Mr. Tyndale's several
Egyptian sojourns since that time have now borne
fruit in a new book entitled "An Artist in Egypt"
(Hodder & Stoughton). Unlike many of his fellow-
artists, Mr. Tyndale knows how to write as well as
to paint, and his spicy record of personal impressions
and experiences is decidedly worth while for its
own sake. But the pictures are still better. These
consist of twenty-seven reproductions in full color,
separately printed and mounted on blank pages,
within a border of gold lines. They portray with
remarkable skill and charm and opulence of color-
effect the picturesque scenes of Cairo and its neigh-
boring country. A minor feature of the volume
worthy of particular mention is the design for the
end-leaves, depicting in soft tints a camel train mov-
ing across the moonlit desert. For the past or pro-
spective visitor to the Nile country we could suggest
no more appropriate gift than this handsome volume.
Another agreeable and useful volume about
Edinburgh and the surrounding country appears in
Mr. Francis Watt's "Edinburgh and the Lothians"
(Stokes), with colored illustrations by Mr. Walter
Dexter, R.B.A. The term "Lothians," less familiar
to most Americans than to Mr. Watt and his fellow
Britons, seems now to be confined to the counties of
Edinburgh, Linlithgow, and Haddington — Midloth-
ian, West Lothian, and East Lothian, respectively—
though in early days Lothian meant all that part of
the Scottish lowlands between the English border
and the river Forth. Naturally it is with Midlothian
that the present volume chiefly deals, touching espe-
cially on the historic buildings and the literary and
art associations of the Scottish capital. The remain-
ing ten of the book's twenty-nine chapters take the
reader to such historic places as Hawthornden, Ros-
lin, Haddington, Dunbar, North Berwick, and Tan-
tallon Castle. The artist has chosen some of the
most interesting scenes for his brush, giving us pleas-
ing glimpses of Holyrood and Arthur's Seat, Edin-
burgh Castle from Greyfriars Churchyard, Roslin
Chapel, Linlithgow Palace from the Loch, Tantallon
Castle, and other memorable buildings and pictur-
esque views. A map of the Lothians would have
been an acceptable addition to this excellent and
attractive volume.
A quick eye for whatever is novel and distinctive
in Norwegian character and Norwegian customs,
and for the charms of Norwegian scenery, is pos-
sessed by Mr. Harold Simpson, as proved by his
fresh and stimulating volume entitled "Rambles in
Norway" (Estes). He rambles with a fine resolve
to be pleased with whatever he encounters; and so
his chapters bear such headings as these: "An En-
chanted Voyage," "A Haven of Peace," " A Perfect
Day," "The Garden of the North," "The Call of
the Mountains," and "The Wonderful Geiranger."
But there is one less cheerful chapter, entitled "An
Unfortunate Day," which chronicles the discomforts
of a journey from Vossevangen to Gudvangen behind
a lazy horse and in the rain. The rambler found
the conditions for rambling peculiarly favorable in
Norway, especially for one not overburdened with
worldly wealth. Excellent inns with a daily charge
of not more than five kroner (or about five shillings)
are met with outside the large cities, and on the
coastwise steamers the satisfactory quality of the food
seems to be only equalled by the steward's indiffer-
ence as to whether payment is tendered or that tri-
fling formality is omitted altogether. The book, both
in its reading matter and in its many illustrations,
colored and monotone, inspires a desire to ramble
among the lakes and fjords and mountains of the
land of the midnight sun.
After his wanderings in London, Paris, and Hol-
land, Mr. E. V. Lucas turns to Italy and gives us
"A Wanderer in Florence" (Macmillan), which
concerns itself chiefly, as was to have been expected
and desired, with the art and architecture of the
city of Giotto and Michelangelo and Brunelleschi.
Appreciative readers will value the .book not so
much for what it tells us, which is more or less
matter of common knowledge, as for the manner of
the telling. Describing the art treasures of the
Accademia, he counsels the visitor, before leaving, to


1912.]
497
THE
DIAL
"glance at the tapestries near the main entrance,
just for fun. That one in which Adam names the
animals is so delightfully naive that it ought to be
reproduced as a nursery wall-paper." And he pro-
ceeds to point out some of its delightful naivetis.
Concerning Giotto, he thinks that Ruskin has hurt
that artist's reputation by taking him peculiarly
under his wing and persistently calling him "the
Shepherd," thus making him appear "as something
between a Sunday-school superintendent and the
Creator." But Giotto had a dry humor of his own,
as proved by his reply to King Robert of Naples
when that monarch said to him on a very hot day:
"Giotto, if I were you I should leave off painting
for a while." "Yes," returned the artist, "if I were
you I should." Sixteen Florentine views are given
in color, the work of Mr. Harry Morley, and there
are thirty-eight half-tone reproductions of famous
masterpieces in painting and sculpture.
Mr. Adolphe Smith, who claims "a lifelong ac-
quaintance with the Principality of Monaco," is the
author of a large book, " Monaco and Monte Carlo,"
which holds within its covers more information about
that anomalous little country and its famous gam-
bling casino than any other one volume known to us.
Mr. Smith has participated in a number of inter-
national conferences at Monaco, and has otherwise
had opportunity to learn about all that is to be
learned concerning the subject of his book. It is a
strange community that he describes, "a small
principality where, proportionately speaking, more
money is spent on local government, on public works,
on the promotion of original research, on the arts
and sciences, than is the case in any other part of
the world " — and all without a penny of taxation
other than the indirect taxation imposed on users of
tobacco and matches and perhaps a few other things.
The festive foreigner pays practically all the bills,
and the croupier collects the revenue. It is all an
absorbingly interesting story that Mr. Smith has to
tell, and he is well seconded in his undertaking by
Mr. Charles Maresco Pearce, who contributes eight
colored drawings, while the camera is responsible
for forty-eight uncolored views. The book is sub-
stantially and handsomely bound, and its typography
is of the best. (J. B. Lippincott Co.)
Introducing his "Cities of Lombardy" (Macmil-
lan), Mr. Edward Hutton says: "It is my purpose
in this book to consider the nature and the history
of this country, to recapture and to express as well
as I may my delight in it, so that something of its
beauty and its genius may perhaps disengage itself
from my pages, and the reader feel what I have felt
about it though he never stir ten miles from his own
home." Mr. Button's chapters treat historically and
descriptively of a dozen or more Lombard cities, and
he has been ably seconded in his undertaking by Mr.
Maxwell Armfield, who contributes twelve exquisite
illustrations in color. The blue of the Italian sky is
caught — and perhaps a little too much of it occa-
sionally—in these sunny views of beautiful north-
Italian scenes. There are also twelve half-tone
illustrations of merit in their mechanical way. No
lover of Italy can fail to find enjoyment in the vol-
ume. It is of convenient size for the hand or the
pocket, has a map adequate to the reader's needs,
and an index.
In little more than two years the greatest expo-
sition ever undertaken, as the San Franciscans
proudly maintain, will open its doors in celebration
of the completion of the Panama Canal; and it is
not too soon to begin reading up about the wonder-
ful city where that exposition is to be held. Mrs.
Helen Throop Purdy has prepared a full account
of "San Francisco, as it Was, as it Is, and How to
See it," and Messrs. Paul Elder & Co. have issued
the volume in style similar to that of their earlier
books, "California the Beautiful" and "The Van-
ished Ruin Era." Paper and print and illustrations,
board covers and jacket,—everything is in brown of
varying shades. Twenty-seven chapters give the
city's early history and later fortunes, describe its
chief points of interest, furnish glimpses of the men
who have made it famous, advise the reader how
best to see its noteworthy features, and in closing
touch briefly on its environs. Maps of the bay
region, the city itself, and the exposition site at
Harbor View, are added. More than two hundred
illustrations from photographs and other sources
make visible to the eye much that is described in the
text. It is all a stirring and a remarkable story,
this account of a city founded by the Spanish, given
a new birth by American gold-hunters, and stimu-
lated to fresh vigor by the ravages of fire and earth-
quake.
Oxford is pictorially treated, with fine effect, in
a volume of colored views, with brief descriptive
and historical notes by Mr. Edward C. Alden, author
of a useful guide-book to the University. "Fifty
Water-Color Drawings of Oxford " (Estes) appears
to be the work of more than one hand, though
most of the illustrations bear the signature "W.
Manhison." Glimpses of many of the college build-
ings and along the High Street and elsewhere, with
interior views of Christ Church Cathedral, outlooks
on the Isis and the Cherwell, and peeps inside
some of the quadrangles, are given by the skilful
artists whose work is so agreeably reproduced in
the book. A certain fondness for purplish tints is
manifest in not a few of the pictures, but no two
persons see nature in exactly the same colors, so that
one need not complain. The short accompanying
comments to the views are welcome in their judicious
mingling of description and dates. The plates are
loosely attached to dark brown leaves, and each is
faced by a page of notes. Buckram and pasteboard,
with an Oxford scene on the front cover and the
university coat of arms on the back cover, constitute
the binding.
The picturesque and the mediaeval, says Mr. Albert
B. Osborne, were what he went to find in his first
and all subsequent visits to Europe; and in " Picture
Towns of Europe" (McBride ) he gives with pen and
camera, and in a few instances with pencil, if we


498
[Dec. 16,
THE
DIAI
mistake not, some of the results of this quest. His
chapters and his illustrations present in very inviting
form some of the picturesque and the historically
interesting aspects of Clovelly, Mont St. Michel, Car-
cassonne, San Gimignano, Bussaco, Cintra, Toledo,
Ronda, Bruges, Middelburg, Ragusa, Salzburg,
Gruyeres, Rothenburg, and Hildesheira. A map of
that portion of Europe visited by the author is ap-
pended. Northern Europe, as he acknowledges, he
has still to explore; but for the picturesque in west-
ern and southern Europe he has had his eyes open,
to good effect. The book has a striking cover-design,
and its many illustrations have unusual charm.
Some part at least of the fruit of his travels in
the Holy Land is offered to his readers by the Rev.
Cortland Myers, D.D., in a little book appropriate
to the Christmas season, " Where Heaven Touched
the Earth" (American Tract Society). It* nine
chapters treat of Bethlehem, Nazareth, the Wilder-
ness of Judea, the Sea of Galilee, Jacob's Well,
Gethseinane, Calvary, the Church of the Holy Sep-
ulchre, and the Mount of Olives. Colored illustra-
tions, chiefly from photographs of scenes in the Holy
Land, are interspersed, and a pleasing cover-design
adds to the book's attractiveness. Dr. Myers's chap-
ters abound in suggestive comment, literary and
historical allusion, and frequent reference to the
scriptural account of the events that have made
memorable the places visited by him. His book,
convenient in size for the pocket, would be a good
companion for the tourist in Palestine; but its
readers will not be restricted to the tourist class.
Holiday Aet Books.
Though the history of American painting and
sculpture has engaged the service of many pens, a
full account of the reproductive graphic arts in this
country would be hard to find. Mr. Frank Weiten-
kampf attempts to supply this lack in his careful and
interesting work, "American Graphic Art" (Holt),
whose declared purpose is "to group scattered facts
in a brief but clear review of the whole field of Ameri-
can graphic art. It is not intended to present a
detailed list including every artist who may have
practiced any of these arts in this country, but to
offer a survey that will bring out salient or char-
acteristic personalities and tendencies." The fifteen
chapters of the book treat successively etching, early
and modern; engraving in line and stipple, in the
eighteenth and nineteenth centuries; mezzotint
(the art of rock and scraper); aquatint and some
other tints; wood-engraving, and the new school of
the same; painter-wood-engraving; lithography as a
business and as an art; the illustrators; caricature;
the comic paper; the book-plate; applied graphic art,
from the business card to the poster. Illustrative
plates to the number of thirty-seven are scattered
through the book, but no attempt has been made to
reproduce the colored poster or other colored print.
The specimens of work in black and white are well
chosen and interesting. Of peculiar historic interest
is the reproduction of Paul Revere's copper-engraving
of the Rev. Jonathan Mayhew, a print only recently
discovered in the New York Public Library. There
is also given a reproduction of the first known wood-
engraving executed in the colonies,—John Foster's
portrait of Richard Mather. The work of such noted
modern etchers and engravers as Whistler, Mr.
Timothy Cole, Mr. Joseph Pennell, the late Howard
Pyle, and many others, is represented among the
plates and receives notice from the author. It is a
large field to attempt to cover in a single volume,
but what has been done within that limit appears to
have been well done. Mr. Weitenkampf is Chief
of the Arts and Prints Divisions of the New York
Public Library, and author of "How to Appreciate
Prints." The present volume will be prized by
print lovers.
The popular series of "The Art Galleries of Eu-
rope " published by Messrs. L. C. Page & Co. receives
an important addition this year in Mr. Charles C.
HeyPs tasteful volume on "The Art of the Uffizi
Palace and the Florence Academy," to which are
added notes on the minor museums of Florence, with
a bibliography, lists of artists and their woi ks, and
an index to the book. Fifty illustrations from photo-
graphs serve to give an idea of the chief master-
pieces of painting and sculpture described by the
author, whose purpose has been to omit the details of
technique and to bring his readers face to face with
"the great, eternal, living soul" of the artist's work,
"touching sympathetically upon such elements in
the intellectual intent and content of the productions
as may afford the keenest enjoyment, coupled with
the most complete understanding and appreciation."
His first chapter, entitled "The Genesis of the Re-
naissance: the First Religious Revival," gives the
suggestive story of San Giovanni Gualberto and the
founding of the monastery of Vallombrosa. The
treasures of the Pitti Palace, having been treated in
an earlier volume of the series, are omitted in the
present work. As a popular guide to the art gal-
leries of Florence, the two volumes together appear
to leave little to be desired. The illustrations, though
small, are beautifully clear, and the commentary
abounds in pertinent information and judicious
criticism. Externally, the issues of this series are
attractive to the eye.
A noteworthy contribution to the literature of the
fine arts is made by Mr. George Leland Hunter in
his scholarly and handsome volume on "Tapestries:
Their Origin, History, and Renaissance" (Lane).
"To me personally." he declares, "tapestries are the
most interesting and delightful form of art, combin-
ing as they do picture interest with story interest and
texture interest." The picture interest and the story
interest are to be found in the book's numerous illus-
trative plates (four of them in color) and in the
author's accompanying commentary; the texture in-
terest one can fully appreciate only by studying tapes-
tries themselves. Where the most famous of them are
to be seen may be learned from Mr. Hunter's pages,
as also the historic significance and the peculiar
merits of these wonderful products of the weaver s


1912.]
499
THE DIAL,
and the dyer's art. His chapters treat of the renais-
sance of tapestries, Gothic tapestries, Renaissance
tapestries, Flemish and Burgundian looms, English
looms, the Gobelins, and other famous tapestries,
some details as to the texture of tapestries, designs
and portraits in tapestries, signatures and makers,
shapes and sizes, the Bible in tapestries, history and
romance in tapestries, light and shade and perspec-
tive, the care of tapestries, tapestry museums, sales,
expositions, and books, the tapestries in the Metro-
politan Museum, and other related subjects. The
frontispiece is a colored reproduction of the "Ver-
tumnus and Pomona" tapestry in the Casimir-
Perier collection, a work of art valued at $120 000,
and the most perfect Beauvais-Boucher tapestry ever
seen by the author. This and the other colored prints
suggest remarkably well the rich harmonies of some
of these masterpieces. The half-tone illustrations
give a good idea of the design. A full bibliography
and index are provided.
Miss Helen W. Henderson's profusely illustrated
work on "The Art Treasures of Washington"
(Page) is the fourth and latest addition to the
handy and attractive series on "The Art Galleries
of America." The purpose of the book, as explained
on the title-page, is to give "an account of the Cor-
coran Gallery of Art and of the National Gallery
and Museum, with descriptions and criticisms of
their contents; including, also, an account of the
works of art in the Capitol, and in the Library of
Congress, and of the most important statuary in the
city." The unwise legislation of a Congress not
famed for its discriminating love of the fine arts has
so burdened the capital with examples of the showy
and futile that one is in danger of losing sight of
the lesser number of genuine masterpieces to be met
with in a tour of the Washington galleries and other
public buildings. Hence the need of some such in-
telligently selective guide and critic as is furnished
in Miss Henderson's manual. In addition to paint-
ings and sculpture she gives especial attention to the
National Museum's collection of aboriginal Amer-
ican pottery, the largest and best exhibition of its
kind in the world. Sixty-six reproductions from
photographs illustrate the volume, which also con-
tains a bibliography and index.
Successive phases of the artist's life from age to
age are illustrated in Mr. Stewart Dick's volume
on " Master Painters: Pages from the Romance of
Art " (Small. Maynard & Co.). Its dozen chapters
begin with the monkish painters of the fifteenth cen-
tury and cloRe with Rossetti and the Pre-Raphaelites.
The three chief stages in this progress of art are
found in the monastic period of painting and illumi-
nating, the period of the bottega or workshop, and
that of the art schools. In each and all the creator
of beauty has commonly lived a life apart, building
up a world of his own, as Mr. Dick says, while the
material world "has become an automaton; it is
wound up, and the stream keeps pouring out relent-
lessly useful things, useless things, but all things
that will sell, and all dead things. The artist is
forced to take refuge in a backwater if he would
produce living work." Photographic reproductions
of sixteen masterpieces of art are scattered through
the volume. No believer in "the glory and good
of art" can fail to find enjoyment in Mr. Dick's
sympathetic treatment of his theme.
To one unacquainted with the progress of artistic
photography, the exhibition of present-day camera
work contained in the 1912 volume of " Photograms
for the Year " (New York: Tennant& Ward) will
come as a revelation. Almost every sort of subject
available to the painter seems to have been utilized
in these hundred odd plates, and often with artistic
results of a surprisingly high order. In this volume,
the seventeenth annual issue of the work, the page
size has been increased very considerably, thus
affording opportunity for reproduction on a worthier
scale than obtained in the previous volumes. Be-
sides a general review of the year's work by the
editor, Mr. F. G. Mortimer, there are nine brief
articles by various hands dealing with progress and
developments in the field of camera work through-
out the world. The amateur photographer who
finds this book in his Christmas stocking is likely to
be a very satisfied person.
Holiday Editions of Standard Literature.
Many years ago, in the wilds of Central Africa,
where Dante, Homer, and Shakespeare were often
his sole companions except the natives, Mr. H.
B. Cotterill conceived a desire to translate the
"Odyssey." At last he has been able to accomplish
his purpose, and a hexameter version, in a volume
of quarto size, clearly printed on heavy paper and
adorned with twenty-four drawings by Mr. Patten
Wilson, is the gratifying result. It was a rather
bold venture to translate Homer in the metre of the
original, so little has popular favor hitherto smiled
on this exotic form of English verse. Longfellow's
"Evangeline" is accepted for other beau ies than
those of its metre. However, there is no conceivable
form of Homeric translation that has not its own
peculiar weaknesses. Those who are familiar with
Homer, or even only with Virgil, in the original, and
thus have their ear attuned to the six-foot measure
of these poets, will easily fall into the swing of Mr.
Cotterill's verse; others are likely to trip occasion-
ally, especially over certain proper names whose
English accent has yielded to the "quantity" of
the original syllables, as in the line, ''Hailing from
Dulichium. of the choicest youths of the island," and
"Him sage Telemachus addressing in turn gave
answer." In its spirit, the translation is truly
Homeric, the language simple and dignified, the
faithfulness of rendering all that could be expected
under the restrictions of metre. The artist's draw-
ings are in many instances finely conceived and of
great beauty. (Dana Estes & Co.)
Goldsmith could not have wished for a better set
of illustrations to his comedy. " She Stoops to Con-
quer," than tho-e designed with keen appreciation
of the humors of the piece by Mr. Hugh Thomson


500
[Dec. 16,
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DIAL
in an elaborate edition from the house of Hodder
& Stonghton. The play, thus issued, with twenty-
five colored plates and other drawings in line, makes
a volume of quarto dimensions running to nearly two
hundred pages. Heavy paper and large type are
used, with broad margins and richly decorated bind-
ing, end-leaves of appropriate design, and an embel-
lished box. Mr. Thomson's water-colors — for such
is their appearance in reproduction — have often a
Watteau-like delicacy and grace that is very pleasing,
while the rude joviality of certain other scenes is
also well depicted. Nothing short of seeing the play
itself well staged and acted could convey a fuller
enjoyment of its merits than this fine setting pro-
vided for it by artist and printer and binder.
Hardly a year passes now that does not witness a
fresh attempt to interpret one or more of Poe's poems
by aid of pictorial illustration. The latest noteworthy
effort of this sort is on the part of Mr. Edmund
Dulac, who has made twenty-eight colored pictures
for a sumptuous edition of "The Bells, and Other
Poems" (Hodder) in a quarto volume of imposing
appearance in its elaborately embossed, cream-
colored binding, with print of the largest, margins
of the most generous width, and paper of the heavi-
est. The illustrations are striking for their color-
effects, and often too for their drawing. No one
but Poe could have evoked such creations. The
picture to "The Haunted Palace," for example, is
a veritable nightmare in color and design, that to
"Alone" is beautifully expressive, those to "The
Bells" are what Poe himself might have been glad
to be able to draw. Other smaller illustrations in
a single tint head some of the poems, and all have
a character appropriate to their theme.
The spirit of romance breathes in Mr. W. Hath-
erell's illustrations to "Romeo and Juliet" in the
elaborately ornate edition of the play issued this sea-
son by Messrs. Hodder & Stoughton. Twenty-two
of these pictures, rich even to the verge of excess (or
perhaps beyond it) in coloring, and frequently of
striking and beautiful design, are scattered through
the book. The charm of Juliet's young beauty is
now and again successfully caught, and the con-
ception of her old nurse is excellent. Large print,
heavy paper, generous spacing, broad margins, a
graceful cover design in green and gold—these are
among the book's attractive features. It is a sub-
stantial quarto in form, and is provided with a box
appropriately ornamented.
A request for a list of the flowers named in T. B.
Aldrich's poems, in order that the garden of the
Aldrich memorial house at Portsmouth might have
growing in it all the flowers so mentioned, called
forth from Mrs. Aldrich a copy of all the lines
wherein the desired names occurred. Thus not only
the blossoms themselves, but also the accompanying
foliage, so to speak, the poet's widow has offered to
such as choose to accept the floral gift. A thin vol-
ume of exquisite design, entitled "The Shadow of
the Flowers" (Houghton), contains these passages
from Aldrich's poems, with drawings in harmony
with the text from the pencils of Mr. Talbot Aldrich
and Mr. Carl J. Nordell. The right-hand pages
alone are used, and the verses as well as the draw-
ings above them appear to be the work of the artist's
pencil. Flowers and bits of landscape make up most
of the illustrations, with an occasional human figure.
The cover design shows a part of a wild rosebush,
with accompanying verses. The book is neatly
bound in light-gray boards with linen back.
The effect of a richly illuminated manuscript is
produced by Mr. Alberto Sangorski's decorative set-
ting to the "Sermon on the Mount" (Estes). Chap-
ters five, six, and seven of St. Matthew are written
out in black letter, with elaborate initial letters done
in gold and colors, and with a special border for each
page. Each leaf is double, so that only one side of
the paper is printed on, and the creamy tint suggests
parchment or vellum. Holman Hunt's painting "The
Light of the World," in Saint Paul's Cathedral, is
reproduced for the further ornamentation of the vol-
ume. In elaboration and splendor, these decorative
designs are noteworthy exhibitions of the illustrator's
and illuminator's art. The first and last verses are
in red, and rubricated initial letters also sprinkle
the page.
The world never wearies of Mrs. Gaskell's little
masterpiece, "Cranford." Every holiday season
there will be, somewhere and in some form, a new
edition of the story, perhaps more than one. This
year Mr. H. M. Brock, R.I., has drawn half a dozen
pictures in cheerful colors for a well-printed reissue
of this little classic. The costumes, the graces, the
old-fashioned formalities, of Miss Matty, Mr. Hol-
brook, Captain Brown, and other characters in the
story, are well depicted by the artist, and add a fresh
charm to the simple narrative. (J. B. Lippincott
Co.)
Holiday Fiction.
Nineteen stories, told with Dr. Henry van Dyke's
well-known charm of manner, are grouped in the
volume entitled "The Unknown Quantity" (Scrib-
ner). The thread uniting the stories their author
calls "the sign of the unknown quantity, the sense
of mystery and strangeness, that runs through human
life." The sub-title to the collection, "A Book of
Romance and Some Half-Told Tales," calls forth a
further word of explanation in the preface. Inter-
spersed between the longer stories are a number of
"tales that are told in a briefer and different man-
ner. They are like etchings in which more is sug-
gested than is in the picture. For this reason they
are called Half-Told Tales, in the hope that they
may mean to the reader more than they say." The
mere names of some of the stories, since nothing
more can be given here, will serve to hint at the rich-
ness and variety of the volume. "The Wedding-
Ring," " The Ripening of the Fruit," "The King's
Jewel," " The Music-Lover," « An Old Game," " A
Change of Air," "The Return of the Charm," "The
Mansion "—these and other titles have the true ring
to the story-reader's ear. Good illustrations, both
colored and in black-and-white, are provided by


1912.]
501
THE
DIAL,
various artists, and a cheerful design in blue and
gold enlivens the book's exterior.
Mr. Jack London's popular story, "The Call of
the Wild,"—the tale of a noble St. Bernard dog
stolen from his California home and pressed into
sledge service in Alaska, where he finally reverts to
the primitive condition of his kind and runs wild as
the leader of a pack of wolves,— celebrates its decen-
nial anniversary by appearing in an elaborately-
illustrated holiday edition (Macmillan). Mr. Paul
Bransom has provided the stirring and touching
narrative with a great number of appropriate illus-
trations, both full-page color plates and Bmaller
colored and uncolored drawings. A first-rate story
to begin with, the tale thus reissued becomes more
alluring than before, and will doubtless win for itself
many new readers.
Mr. Richard Le Gallienne addresses his readers in
parables in "The Maker of Rainbows" (Harper), a
collection of fourteen fairy tales and fables supposed
to have been found by an old-clothes dealer in one
of the pockets of a poet's dress suit which the poet
had sold in order to get money to buy a rose for his
sweetheart; so that, with this touching story of the
careless and improvident poet, there are fifteen tales
in all, one of them being poetry in form as well as
in substance. Miss Elizabeth Shippen Green has
illustrated the book with two colored and three
uncolored drawings, in harmony with the tone of
the text; and the rainbow-maker himself, a cheery
grinder of scissors and knives, is brightly depicted
on the cover in the midst of a group of eager chil-
dren.
Mrs. Barclay'8 popular success of last year, "The
Following of the Star" (Putnam), has followed the
example of others of her widely-read romances and
gone into a richly illustrated and ornamented holiday
edition, handsomely bound and artistically boxed.
Mr. F. H. Townsend has provided eight colored pic-
tures, Miss Margaret Armstrong has designed the
page-borders and other decorations, and the printer
has not been lacking in the proper discharge of his
important duties. The vivid illustrations harmonize
well with the reading matter, and in every way this
sumptuous volume appears to be what an edition de
luxe of Mrs. Barclay's novel ought to be.
Republished in holiday book form after its serial
appearance, Mr. Robert W. Chambers's "Blue-Bird
Weather" (Appleton), with seven illustrations by
Mr. Charles Dana Gibson, makes as pretty a love
story as any young girl need ask for. It is the tale
of a duck-shooting expedition in which the duck-
shooter loses his heart to the pretty daughter of the
keeper of the shooting box where he puts up, and of
course it all ends as it should and they live happily
ever after. The narrative is brisk, the pictures good,
and the book, well printed and neatly bound and
jacketed, shows nothing to find fault with—unless
one chooses to take exception to a rather glaring
error in a Latin quotation. But the lover of love
stories will not allow so small a matter as this to
disturb his or her enjoyment of the romance.
Miss Zona Gale's story entitled "Christmas"
(Macmillan) appears fittingly at this time of the
year in artistic book-form, with half a dozen brightly
cheerful pictures in color by Mr. Leon V. Solon.
The very names that greet the eye in its pleasant
pages are an earnest of good things in store for the
reader. Old Trail Town is the scene of the rural
drama, and such names as Mary Chavah, Ebenezer
Rule, Tab Winslow, Jenny Wing, Mis' Mortimer
Bates, and Buff Miles are borne by the actors. The
book is attractively bound in cream-colored cloth,
richly decorated in green and red and gilt.
Miscellaneous Holiday Books.
A pleasant style and a disposition to pass with
no unnecessary delay from one subject to the next
distinguish Mrs. William Wilson Sale's handsome
volume on "Old Time Belles and Cavaliers" (Lip-
pincott), a collection of thirty biographical studies
beginning with Pocahontas and ending with Anne
Carmichael. Mrs. Sale (Edith Tunis Sale she signs
her name to her book) believes that "the stories of
womanly heroism and manly bravery with which the
lives of the old time belles and cavaliers are indelibly
associated should be familiar to all readers of Amer-
ican history; for while the English men and women
of that day were lounging at court or taking their
ease at Bath, their kinsmen and women over the
sea were suffering and enduring the privations of
war and discomforts of life in a new country."
Accordingly the claims of the more prominent of
these belles and cavaliers to our admiration are
touched upon in a manner to entertain and never
to weary in Mrs. Sale's book. Robert Carter, or
"King" Carter, William Byrd,Mary Ball and Martha
Dandridge (mother and wife, respectively, of Wash-
ington), Alice De Lancey, Benjamin Thompson
(Count Rumford), Peggy Chew and Peggy Shippen,
Dolly Payne, Theodosia Burr, with others of equal
note, have their characters briefly drawn and the
things for which they are to be remembered recalled
to mind, while there is no lack of portraits to help
fix the various personages in one's mind. The book
forms a sort of national portrait gallery,— or one
room, of peculiar interest, in such a gallery.
"An attempt to catch the spirit of the keen joys
of the winter season " is the explanatory sub-title of
"A Book of Winter Sports" (Macmillan), edited
by Mr. J. C. Dier and illustrated in lively manner
with both colored plates and half-tone reproductions
of photographs. The sources from which readable
and often instructive matter has been taken are
numerous and varied. Dickens, Burns, de Amicis,
Christopher North, Blackmore, "The Scientific
American," "Outing," "The Saturday Review,"
with many other writers and a few other periodicals,
have been drawn upon for chapters on ice-motoring,
skating, curling, snow-shoeing, skiing, toboganning,
sleighing, and other ice and snow pastimes. The
newest and therefore perhaps the most interesting
of these sports is ice-motoring, while the wind-driven
ice-yacht is still a fascinating toy and one that, under


502
[Dec. 16,
THE DIAL.
favorable conditions, can still outstrip the gasolene-
propelled sledge. Directions and diagrams for build-
ing certain kinds of ice craft are given in the book;
but these may of course be omitted by those not
mechanically gifted, who will find more pleasure in
"Mr. Winkle on the Ice," from "Pickwick," or
the song of " The Jolly Curlers" by James Hogg,
both of which, and many other readable miscellanies
of a nature suitable to the book's purpose, are to be
met with between its covers. The selections are all
short, and the volume has that brisk air appropriate
to the winter season which it celebrates.
An echo of the Dickens centennial reaches our
shores in Mr. Edwin Pugh's careful and interesting
work on "The Charles Dickens Originals" (Scrib-
ner). Of the real characters that inspired the novel-
ist to the creation of their famous doubles in fiction
no genuine Dickens-lover will ever tire of reading.
Such chapters as those of Mr. Pugh on Mary
Hogarth, Maria Beadnell, the Brothers Cheeryble,
some Pickwickians, relics from "The Old Curiosity
Shop," certain criminal prototypes, and so on, afford
both entertainment and instruction. The portraits
in the volume are many and interesting, as for ex-
ample that of Sam Vale ("Sam Weller"), Henry
Burnett ("Nicholas Nickleby"), Mary Hogarth
(" Kate Nickleby" and other characters), Maria
Beadnell ("Dolly Varden" and other characters),
Mrs. Cooper ("Little Ddrrit"), John Dickens
("Mr. Micawber"), Lord Mansfield ("Barnaby
Budge"), and many more. An index of names
and book-titles closes the book. Mr. Pugh is
already known as the author of " Charles Dickens,
the Apostle of the People," and his qualifications
for such a work as the present will not be ques-
tioned. The book, with its frontispiece reproducing
the Maclise portrait of Dickens, and with its other
attractive features, is one of the most inviting of
recent works about the great novelist.
The proverbial Irishman, the Irishman of the
Victorian novelists and dramatists, vanishes like an
illusion dispelled in Mr. George A. Birmingham's
chapters on "The Lighter Side of Irish Life"
(Stokes). Seen with the eyes of this native of Erin,
Patrick becomes a much less picturesque and amus-
ing character, a much more matter-of-fact and unim-
aginative mortal, than it pleases us to conceive him.
"Nothing is more characteristic of the Irishman
to-day than his freedom from illusion and his power
of seeing facts," declares Mr. Birmingham, and we
are glad to arrive at the truth of the matter as he sees
it But he half acknowledges that the accepted and
familiar picture of Patrick as he used to be may not
have been entirely false. With all this stripping of
the Irishman of his picturesque trappings, however,
there remains enough of interest and charm in his
personality to furnish material for a baker's dozen
of unusually readable and often amusing sketches in
the author's best vein. He takes occasion, naturally
enough, to insist that the Irish bull is really "an
example of abnormal, perhaps morbid, mental quick-
ness." Mr. Henry W. Kerr, R.S.A., contributes six-
teen colored plates, showing the Irishman rather more
in accordance with the popular ideal of him titan do
the pages they illustrate.
Two years ago the Goncourt prize for the best
piece of imaginative writing of the year was awarded
to M. Louis Pergaud for his animal stories, "De
Goupil a Margot," published by the "Mercure de
France." These stories, six in number and dealing
chiefly with the tragic fate of as many wild creatures
in their unequal encounters with their foes (usually of
the human kind), are now retold by Mr. Douglas
English in our own tongue, under the general title,
"Tales of the Untamed," with illustrations by Mr.
English. Adapter, not translator, he calls himself,
urging that anything like literalness of rendering
was found to be impossible. In his telling, the stories
are full of a pathetic interest, and yet the pathos is
never strained, the naturalness of it all never spoilt.
The pictures, which seem to be photographs from
nature, are as true to life as could be desired. Mr.
English is already known for his "Photography
for Naturalists" and also his "Book of Nimble
Beasts." His new volume should find wide favor
as a gift for the nature-lover. (Outing Publishing
Co.)
Philadelphia and its environs can boast of a
greater number of historic colonial residences, still
in a good state of preservation and most of them
occupied by descendants of the original owners, than
any other city in America. A stately quarto volume
descriptive of these " Colonial Homes of Philadelph ia
and its Neighborhood" has been prepared by Mr.
Harold Donaldson Eberlein and Mr. Horace Mather
Lippincott, who have from infancy been familiar
with many of the houses described. More than fifty
of these early examples of domestic architecture
have their history and associations narrated in the
book, with a great number of accompanying views,
exterior and interior, from photographs. Numerous
other old houses of the city and its suburbs are men-
tioned, but the limits of space have made it impos-
sible to do more. Among the more famous of colonial
homes met with in turning the book's pages are the
Wister house, at Fourth and Locust streets; Provost
Smith's house, at Fourth and Arch streets, where
Lowell and his bride were entertained in 1844; the
Solitude, Fairmount Park, built by John Penn,
grandson of William Penn; James Logan's house,
known as Stenton, at Germantown; the Wayne
homestead, Waynesborough; and the houses asso-
ciated with such old Philadelphia names as Willing,
Wharton, Morris, Shippen, Brinton, Ashhurst, Pen-
rose, Pennypacker, Shoemaker, and Wain. The
book is printed from type, in a limited edition: and
with its many pleasing illustrations and artistic
binding leaves little to be desired as an example of
what is best in fine book-manufacture. It bears,
appropriately, the imprint of the J. B. Lippincott
Company.
Mr. Walter Wood, believing that "it may well be
that we have reached a stage when all the nations
must say 'Halt!' in connection with battleship con-


1912.]
503
THE
DIAL,
struction and naval expenditure," commemorates
this epoch in naval history by preparing an histori-
cal and descriptive account, from a British point of
view, of "The Battleship" (Dntton ). From the first
ship-of-the-line in Henry the Seventh's reign to the
twentieth-century Dreadnaught, he traces the his-
tory of battleship construction and the manners and
customs of Jack Tar and his commanding officers,
through four centuries of English naval development.
Mr. Frank H. Mason, B.B. A., enlivens the narrative
with eight striking illustrations in color, while many
more pictures are supplied from old prints and mod-
ern photographs. An original poem lamenting the
fate of a splendid battleship insidiously done to death
by a submarine is prefixed to his notable book by
the author. Since, as Mr. Wood points out, "there
is no book in our language which deals solely with
the battleship, both sail and steam," his scholarly and
handsome volume supplies a real want. Its pages,
are alive with interesting facts, and its many illustra-
tions are appropriate and helpful to an understand-
ing of the subjects discussed.
Those who enjoy gardening, and others also, will
find pleasure in " The Four Gardens" (Lippincott),
by " Handasyde," with colored illustrations and line
drawings by Mr. Charles Robinson. The four gar-
dens are the haunted garden, the old-fashioned
garden, the poor man's garden, and the rich man's
garden, all being such gardens as are to be seen in
England and Scotland, and all redolent of odors
familar to garden-lovers. The first-named of these
gardens has a ghost, pictured in the frontispiece,
and a very old stone wall; also a children's corner,
sheltered and sunny, where mint and sage grow
against the old wall, and where the children do all
the gardening with three tools shared in common
and a shilling a year to each child for seeds. The
gardening diary of one of the children contains an
entry that may recall to the reader some of his own
childhood likes and dislikes. "If all the garden
belonged to me I would never plant potatoes." In
the rich man's garden we see the owner, John
Hardress, slowly pacing its broad paths and looking
mostly at his boots, which are polished to perfection.
Each of these gardens has its distinct character, and
the artist has ably seconded the author in making
that character appreciable to the reader. The book
is beautifully printed and bound.
Tributes to Lincoln are always in order. In a
thin quarto of artistic design are brought together,
under the general title, "Memories of President
Lincoln," Walt Whitman's beautiful poems, —
"When Lilacs Last in the Dooryard Bloom'd," "O
Captain! My Captain!" "Hushed be the Camps
To-day," and " This Dust was Once the Man," pre-
ceded by the "Gettysburg Address." a preliminary
word from Mr. William Marion Reedy, Mr. John
Burroughs's comment on the Whitman monody, a
preface by Mr. Horace Traubel, a few words from
the publisher, Mr. Thomas B. Mosher, and a part
of the Lincoln passage in Lowell's "Commemoration
Ode." A short bibliography closes the book. The
handmade paper, large print, broad margins, dec-
orative initial letters, and other pleasing features of
this tasteful volume are worthy of the publisher
whose imprint it bears. An excellent and unhack-
neyed portrait of Lincoln faces the title-page.
Appropriate to the season is the reappearance in
richly decorated form of Mr. Bouck White's thought-
ful book treating of the life of Jesus and its special
significance to the world of to-day. "The Call of
the Carpenter" (Doubleday) opens with a prelimi-
nary chapter calling attention to two facts which in
the writer's opinion "occupy the centre of the stage,
to which all other facts are tributary, and which for
good or ill are conceded to be of superlative import.
They are, the rise of democracy, and the decline of
ecclesiasticism." But while the gap between the
church and the people is widening, "this antagon-
ism," asserts the author, "of the working class to the
Church does not carry an antagonism also to Jesus.
On the contrary, the Workingman of Nazareth prob-
ably never stood higher in their esteem or more
ardent in their affections." One might feel tempted
to try to improve the form of this statement, but the
general truth that the life of Jesus, rightly presented,
never fails in its appeal, remains unassailable. Hence
the value of such earnest and intelligent studies as
Mr. White's. The book's outward beauty will help
to increase its circulation. Its colored frontispiece
is by Mr. Balfour Ker, its decorations by Mr. Frank
Bittner.
The annual catalogues issued by Mr. Thomas B.
Mosher have for more than twenty years past held
a peculiar place in the affections of book-lovers, not
alone by reason of the appealing wares which they
advertise or their own attractiveness of form, but
also on account of the choice bits of literature scat-
tered through their pages. These waifs and strays by
many authors have now been brought together, with
some revision and additions, in a delectable an-
thology entitled "Amphora," of which Mr. Mosher
is editor as well as publisher. The title is a happy
one, for the little volume is indeed "a vase filled and
over-flowing with wine of spiritual Life,"—a jar of
precious essence distilled not from the famed public
gardens of literature but from the shyer and more
elusively fragrant blossoming of hedge and hillside.
That little company to whom literature is a passion—
an affair of the heart more than of the head—will
not fail in gratitude to Mr. Mosher for this happy
gift. It should find a place, perhaps the chief
place, on the bedside shelf of every member of that
company.
The winning wiles and seductive smiles of Miss
Kitty Cobb, who leaves her home in Pleasant Valley
to see what the city of big hopes has in store
for her, are pictured with pen and pencil by Mr.
James Montgomery Flagg in thirty-one chapters,
or scenes, filling a broad-paged quarto entitled "The
Adventures of Kitty Cobb" (Doran). They are
collected in this permanent and attractive form
after serial publication in certain papers, and form
a picture-book calculated to amuse children of a


1912.]
505
THE DIAL
as might have been wished. The book is tastefully
bound in blue and gold.—" Poems of Country Life"
(Sturgis), compiled by Mr. George S. Bryan, is pub-
lished as a welcome addition to "The Farmer's
Practical Library." The most practical things are
sometimes said to be the ideal; hence the propriety
of a book of poetry in a farmer's library. The
selected pieces of verse, ranging from Herrick's
"Harvest Home" to Ellsworth's "Shindig in the
Country," all have the agreeable rustic tone and
manner. They are grouped in seven divisions treat-
ing of country folk, country tasks, country pleasures,
country blessings, country fun, country scenes, and
country ties. Well-known paintings of rural scenes
are reproduced to illustrate the book. The table of
contents has wisely been arranged in the form of
an alphabetical author-index.—"Sweet Songs of
Many Voices" (Caldwell), compiled by Kate A.
Wright (Mrs. Athelstan Mellersh), is a general col-
lection of some of the best short poems of chiefly
nineteenth-century English poets. A delicately
ornamented binding and a colored frontispiece at-
tract the eye. A useful closing index of first lines
supplements the alphabetical author-index at the
beginning.
Notes.
"The Night-Riders," another of Mr. Ridgwell Cul-
lum's exciting tales of western ranch life, will be pub-
lished in February by Messrs. George W. Jacobs & Co.
A timely publication just announced by Messrs.
Duffield & Co. is "The Orient Question" by Prince
Lazarovich-Hrebelianovich, a prominent Servian states-
roan.
"The Authoritative Life of General William Booth,"
founder of the Salvation Army, has been written by his
"first commissioner," Mr. G. S. Railton, and will be
published in this country by Messrs. George H. Doran
Co.
"Roses of Paestum," by Mr. Edward McCurdy, is a
volume of essays on Italy and the medueval spirit,
charmingly written, and published by Mr. Thomas B.
Mosher in the exquisite form that he knows how to give
to a book.
The forthcoming biography of George Frederic
Watts, by his widow, to which we have once or twice
referred in this column, will be published on this side
by Messrs. George H. Doran Co. The work promises
a rich literary and artistic treat.
Three novels to be issued in February by Messrs.
Little, Brown & Co. are the following: "The Day of
Days," by Mr. Louis Joseph Vance; "The Maiden
Manifest," by Delia Campbell MacLeod; and "On
Board the Beattic," by Anna Chapin Ray.
Mr. George M. Trevelyan has edited what seems to
be a definitive edition of " The Poetical Works of George
Meredith" in a single volume of six hundred pages,
based on the carefully-revised text of the " Memorial"
edition. The editor's notes give this work a special
value. It is published by the Messrs. Scribner.
It is reported that the recent death in London of
William Flavelle Monypenny will not interfere with the
completion of his important Life of Disraeli, the second
volume of which has just appeared. Mr. Monypenny,
it seems, had practically all the material for the work
ready for the publishers at the time of his death.
Professor Henry S. Canby of Yale has prepared a vol-
ume on "The Short Story," to be published immediately
by Messrs. Henry Holt & Co. The body of this book
is a revision and enlargement of Professor Canby's
previous monograph on the short story, the principles
therein laid down being illustrated by a number of
specimen stories.
Beginning with its January issue the name of " Cur-
rent Literature " will be changed to "Current Opinion,"
and the page-size will be increased from that of the ordi-
nary magazine to seven by ten inches. We trust these
innovations may help in widening the popularity of one
of the few periodicals which may be regarded as indis-
pensable to the intelligent reader.
One of the most important books yet announced for
publication in the new year is "The Mechanistic
Conception of Life," by Professor Jacques Loeb, to be
issued by the University of Chicago Press. The book
has been written in such a manner that the layman may
understand the work done by Professor Loeb and draw
his own conclusions as to the importance of the fact that
living creatures have been developed without the inter-
position of the paternal element.
A set of seven volumes, just received, completes the
forty in which Miss Charlotte Porter has given us the
"First Folio" Shakespeare (Crowell). In text and
critical apparatus this edition leaves little to be desired,
and it is matter for congratulation that Miss Porter's
task of presenting the "trewe copy " has been so satis-
factorily completed. Shakespeare is better worth read-
ing in this form than in any modernized one, and in these
days when even Chaucer is made easy by translation into
current prose, it is well to be reminded that such shifts
do a doubtful service to serious students of literature.
A new publishing house has been established in Chi-
cago by Mr. F. G. Browne, for many years head of the
publishing interests of Messrs. A. C. McClurg & Co.,
and a member of the directory of that corporation. Mr.
Browne will have associated with him Mr. Frank L.
Howell, and the firm name will be F. G. Browne & Co.
The first book bearing the imprint of the new firm, an-
nounced for publication in January, will be "The Lapse
of Enoch Wentworth," by Isabel Gordon Curtis, author
of " The Woman from Wolverton." Four other novels
by popular authors are in preparation for issue during
February and March.
One of the best-known and best-loved of American
clergymen has gone from us in the death of Dr. Robert
Collyer in New York City on November 30. He was
born in Yorkshire, England, in 1823, and came to this
country at the age of twenty-seven, continuing to follow
here the trade of blacksmithing which he had learned
in the mother country. After a time he turned to the
ministry, first as an itinerant Methodist preacher, then
as an Unitarian missionary in Chicago. In 1860 he
founded Unity Church in this city, continuing as its
pastor for eighteen years. In 1879 he was called to
the Church of the Messiah in New York City, with
which he was associated until his death. His published
writings include the following: "Nature and Life,"
"The Life That Now Is," "The Simple Truth: A
Home Book," "Talks to Young Men," "History of
Ilkley in Yorkshire" (in collaboration), and "Things
New and Old."


506
[Dec. 16,
THE DIAL.
List of New Books.
[The following list, containing 100 titles, includes books
received by The Dial since its last issue.]
HOLIDAY GIFT BOOKS.
An Artist In Egypt. By Walter Tyndale, R. I. Illus-
trated In color, 4to, 286 pages. George H. Doran
Co. |S. net.
Traditions of Edinburgh. By Robert Chambers,
LL. D. Illustrated In color, etc., by James Rld-
dell. R S. W., large 8vo, 377 pages. J. B. Lippin-
cott Co. }6. net.
The Battleship. By Walter Wood. Illustrated In
color, eta, large Svo, 308 pages. E. P. Dutton &
Co. $4. net.
The Following of the Star. By Florence L. Barclay.
Illustrated in color by F. H. Townsend and deco-
rated by Margaret Armstrong, large 8vo, 428
pages. Q. P. Putnam's Sons. $2.50 net.
A Christmas Garland. By Max Beerbohm. 12mo,
197 pages. E. P. Dutton & Co. $1.35 net.
Wayfarers In the Libyan Desert. By Frances Gor-
don Alexander. Illustrated, 12mo, 257 pages. G. P.
Putnam's Sons. $2. net.
The Charles Dickens Originals. By Edwin Pugh.
Illustrated In photogravure, etc., 8vo, 347 pages.
Charles Scrlbner's Sons.
The Call of the Carpenter. By Bouck White. Holi-
day edition; with frontispiece in color by Balfour
Ker, 12mo, 355 pages. Doubleday, Page & Co.
J1.50 net
HIOGRAPHY AND REMINISCENCES.
!: •• . ihood of Queen Victoria i A Selection from
• n • ■ Majesty's Diaries between the Years 1832 and
■ |. Published by authority of His Majesty, the
.g; edited by Viscount Esher. In 2 volumes;
jstrated in photogravure, etc., large 8vo. Long-
ins, Green & Co. $9. net.
Sociul Life In Old New Orleansi Being Recollections
of My Girlhood. By Eliza Ripley. Illustrated,
8vo, 332 pages. D. Appleton & Co. $2.60 net.
George Borrowi The Man and His Books. By Ed-
ward Thomas. Illustrated, 8vo, 333 pages. E. P.
Dutton & Co. $3. net.
Lieutenant General Jubnl Anderson Early, C. S. A.t
Autobiographical Sketch and Narrative of the
War between the States. With Notes by R. H.
Early. Illustrated, large Svo, 496 pages. J. B.
Llppincott Co. $3.50 net.
The Life and Letters of Frederic Shields. Edited by
Ernestine Mills. Illustrated In photogravure,
etc., large 8vo, 368 pages. Longmans, Green & Co.
$3. net.
The Last Leaft Observations, during Seventy-Five
Tears, of Men and Events in America and Europe.
By James Kendall Hosmer, LL. D. With portrait,
8vo, 340 pages. G. P. Putnam's Sons.
Notable Women of Modern China. By Margaret E.
Burton. Illustrated, 8vo, 271 pages. Fleming H.
Revell Co. $1.25 net.'
Leading American Inventors. By George lies. Illus-
trated, 8vo, 447 pages. "Biographies of Leading
Americans." Henry Holt & Co. $1.76 net.
The Story of n Good Woman, Jane Lathrop Stanford.
By David Starr Jordan. 12mo, 67 pages. Boston:
American Unitarian Association. 75 cts. net.
HISTORY.
Italy In the Thirteenth Centnry. By Henry Dwight
Sedgwick. In 2 volumes; illustrated in photo-
gravure, 8vo. Houghton Mifflin Co. $5. net.
Napoleon's Last Campaign in Germany, 1813. By F.
Loraine Petre. Illustrated, 8vo, 403 pages. John
Lane Co. $3.50 net.
Smuggling in the American Colonies at the Outbreak
of the Revolution. By William S. McClellan. M. A.;
with Introduction by David T. Clark. 8vo, 105
pages. "David A. Wells Prize Essays." Moffat.
Yard & Co. $1. net.
GENERAL LITERATURE.
William Morrlai A Critical Study. By John Drink-
water. With photogravure portrait, 8vo, 202
pages. Mitchell Kennerley. $2.60 net.
Journals of Ralph Waldo Emerson, with Annota-
tions. Edited by Edward Waldo Emerson and
Waldo Emerson Forbes. In 2 volumes; with pho-
togravure frontispieces, 8vo. Houghton Mifflin
Co. Per volume, $1.75 net.
Shakespeare, Bacon, and the Great Unknown. By
Andrew Lang'. Illustrated, large 8vo, 314 pages.
Longmans, Green & Co. $3. net.
Humanly Speaking. By Samuel McChord Crothers.
12mo, 216 pages. Houghton Mifflin Co. $1.25 net.
Some English Story Tellersi A Book of the Younger
Novelists. By Frederic Taber Cooper. With
portraits, 8vo, 464 pages. Henry Holt & Co.
$1.60 net.
All Manner of Folkt Interpretations and Studies. By
Holbrook Jackson. Illustrated, 12mo, 206 pages.
Mitchell Kennerley. $1.50 net.
Carmen Sylva, and Sketches from the Orient. By
Pierre Lotl; translated from the French by Fred
Rothwell. With photogravure portrait, 12mo, 214
pages. Macmillan Co. $1. net.
The Problem of "Edwin Drood": A Study in the
Methods of Dickens. By W. Robertson Nlcoll.
With frontispiece, 12mo, 212 pages. George H.
Doran Co. $1.25 net.
John and Irene) An Anthology of Thoughts on
Woman. By W. H. Beveridge. 12mo, 324 pages.
Longmans, Green & Co. $1.40 net.
V Boy In the Country. By John Stevenson. Illus-
trated. 12mo, 300 pages. Longmans, Green & Co.
$1.40 net.
A Free Lanee: Being Short Paragraphs and De-
tached Pages from an Author's Note Book. By
Frederic Rowland Marvin. 8vo, 196 pages. Sher-
man, French & Co. $1.25 net.
Solitude Letters. By Mary Taylor Blauvelt. 8vo,
216 pages. Sherman, French & Co. $1.30 net.
Uncollected Writingsi Essays, Addresses. Poems.
Reviews, and Letters. By Ralph Waldo Emerson.
With frontispiece, 8vo, 208 pages. New York:
Lamb Publishing Co.
Two Masters! Browning and Turgenlef. By Philip
Stafford Moxom. 12mo, 91 pages. Sherman.
French & Co. $1. net.
Poetry and Prose. By Rev. J. H. Sankey. 12mo, 52
pages. Richard G. Badger. $1. net.
NEW EDITIONS OF STANDARD LITERATURE.
Success. By Ralph Waldo Emerson. 12mo, 65 pages.
"Riverside Press Edition." Houghton Mifflin Co.
$2. net.
The Complete Works of Geoffrey Chaucer. Edited
from numerous manuscripts by Walter W. Skeat,
Ph. D. With frontispiece. 12mo, 732 pages. Ox-
ford University Press.
The Works of Gilbert Parker, Imperial Edition. Vol-
umes I. and II. With photogravure frontispieces,
8vo. Charles Scrlbner's Sons.
Poems of Adam Lindsay Gordon. Edited, with In-
troduction, Notes, and Appendixes, by Frank
Maldon Robb. With portrait, 12mo, 390 pages.
"Oxford Edition." Oxford University Press.
DRAMA AND VERSE.
The Eldest Soni A Domestic Drama in Three Acts.
By John Galsworthy. 12mo, 74 pages. Charles
Scrlbner's Sons. 60 cts. net.
The Story of a Round House, and Other Poems. By
John Masefield. 12mo, 325 pages. Macmillan Co.
$1.30 net.
The Lyric Yeart One Hundred Poems. Edited by
Ferdinand Earle. 12mo, 316 pages. Mitchell
Kennerley. $2. net.
Echoes from Vagabondln. By Bliss Carman. 12mo,
65 pages. Small, Maynard & Co. $1. net.
The Mortal Gods, and Other Plays. By Olive Tllford
Dargan. 8vo, 303 pages. Charles Scrlbner's Sons.
$1.50 net.
The Beloved Adventure. By John Hall Wheelock.
12mo, 242 pages. Sherman, French & Co.
$1.50 net.
New Poems. By Dora Sigerson Shorter. 12mo, 41
pages. Dublin: Maunsel & Co., Ltd.
The Dance of Dinwiddle. By Marshall Moreton.
With frontispiece, 12mo, 83 pages. Stewart &
Kidd Co. $1.25 net


1912.]
507
THE
DIAL
FICTION.
One Man's View. By Leonard Merrick. 12mo, 258
pages. Mitchell Kennerley. $1.20 net.
The Klu, and Other Stories. By Anton Tchekhoff;
translated from the Russian by K. E. C. Long.
12mo, 317 pages. Charles Scrlbner's Sons.
$1.50 net.
The Valiants of Virginia. By Hallie Erminie Rives.
Illustrated In color, 12mo, 432 pages. Bobbs-
Merrlll Co. $1.35 net.
Bubbles of the Foam. Translated from the original
manuscript by F. W. Bain. With frontispiece,
12mo, 160 pages. G. P. Putnam's Sons. $1.25 net.
The Bonntlfnl Hoar. By Marlon Fox. With frontis-
piece in color, 12mo. John Lane Co. $1.25 net.
The Fortunes of the Laadrays. By. Vaughan Kester.
New edition; illustrated, 12mo, 481 pages. Bobbs-
Merrill Co. $1.35 net.
An Isle of Eden: A Story of Porto Rico. By Janle
Prichard Duggan. Illustrated In color, 12mo, 346
pages. Griffith & Rowland Press. $1.25 net.
Anne Boleyn. By Reginald Drew. 12mo, 364 pages.
Sherman, French & Co. $1.36 net.
A Loyal Love. By Eleanor Atkinson. 12mo, 93
pages. Richard G. Badger. 75 cts. net.
TRAVEL AND DESCRIPTION.
Karakoram and Western Himalaya, 1000: An Ac-
count of the Expedition of H. R. H. Prince Luigl
Amedeo of Savoy. By Filippo de Filippi; with
Preface by H. R. H. the Duke of the Abruzzl.
With plates and maps In separate volume; illus-
trated in photogravure, etc., 4to. E. P. Dutton &
Co. $15. net.
The Last Frontier: The White Man's War for Civil-
ization In Africa. By E. Alexander Powell. Illus-
trated, 8vo, 291 pages. Charles Scrlbner's Sons.
$3. net.
Trails, Trappers, and Tender-feet in the New Empire
of Western Canada. By Stanley Washburn. Illus-
trated, large 8vo, 350 pages. Henry Holt & Co.
$3. net.
Papua or British New Guinea. By J. H. P. Murray.
With Introduction by Sir William MacGregor.
Illustrated, large Svo, 388 pages. Charles Scrlb-
ner's Sons. $3.75 net.
Halted Italy. By F. M. Underwood. Illustrated,
large 8vo, 360 pages. George H. Doran Co.
$3.50 net.
Along Spain's River of Romance: The Guadalquivir.
By Paul Gwynne. Illustrated in color, etc., 8vo,
356 pages. McBride, Nast & Co. $3. net.
Provence and Languedoc. By Cecil Headlam, M. A.
Illustrated, large 8vo, 313 pages. George H.
Doran Co. $3.50 net.
Aspects of Algeria: Historical, Political, Colonial.
By Roy Devereux. Illustrated, 8vo, 315 pages.
E. P. Dutton & Co. $3.50 net.
Picture Towns of Europe. By Albert B. Osborne.
Illustrated, 8vo, 247 pages. McBride, Nast & Co.
$2. net
Siberia. By M. P. Price. Illustrated, large 8vo, 308
pages. George H. Doran Co. $2.60 net.
Black's Guide to Ireland. Illustrated with maps and
plans; twenty-flfth edition, 12mo, 384 pages.
Macmlllan Co. $1.75 net.
John, Jonathan and Company. By James Milne.
With frontispiece, 12mo, 248 pages. Macmlllan
Co. $1.60 net.
Saint Anne of the Mountains: The Story of a Sum-
mer in a Canadian Pilgrimage Village. By Effle
Bignell. Illustrated, 12mo, 215 pages. Richard
G. Badger. $1.26 net.
Seeing Europe on Sixty Dollars. By Wilbur Finley
Fauley. Illustrated, 12mo, 167 pages. Desmond
FitzGerald, Inc. 75 cts. net.
PUBLIC AFFAIRS.
The Government of American Cities. By William
Bennett Munro, LL B. 8-vo, 401 pages. Mac-
mlllan Co. $2.25 net
The Woman Movement. By Ellen Key; translated
by Mamah Bouton Borthwlck, with Introduction
by Havelock Ellis. 8vo, 224 pages. G. P. Put-
nam's Sons. $1.50 net.
The Elements of Child-Protection. By Slgmund
Engel; translated from the German by Dr. Eden
Paul. 8vo, 276 pages. Macmlllan Co. $3.50 net.
Christianising the Social Order. By Walter Rausch-
enbusch. 8vo, 493 pages. Macmlllan Co. $1.50 net.
Recent Events and Present Policies In China. By
J. O. P. Bland. Illustrated, large 8vo, 482 pages.
J. B. Lippincott Co. $4. net.
The Peace Movement of America. By Julius Morlt-
zen; with Introduction by James L. Tryon. Illus-
trated, large 8vo, 419 pages. G. P. Putnam's Sons.
$3. net.
Wealth nod Welfare. By A. C. Plgou, M. A. 8vo, 493
pages. Macmlllan Co. $3.25 net.
Modern Philanthropy: A Study of Efficient Appeal-
ing and Giving. By William H. Allen; with Fore-
word by Mrs. E. H. Harriman. Illustrated, 12mo,
437 pages. Dodd, Mead & Co. $1.50 net.
Swords and Ploughshares; or, The Supplanting of
the System of War by the System of Law. By
Lucia Ames Mead; with Foreword by Baroness
von Suttner. Illustrated, 12mo, 249 pages. G. P.
Putnam's Sons. $1.60 net.
Penal Philosophy. By Gabriel Tarde; translated by
Rapelje Howell, with Preface by Edward Lindsey
and Introduction by Robert H. Gault. 8vo, 681
pages. "Modern Criminal Science Series." Little,
Brown & Co. $6. net.
Socialism from the Christian Standpoint. By Father
Bernard Vaughan. With portrait, 12mo, 389
pages. Macmlllan Co. $1.50 net.
PHILOSOPHY.
ftreek Thinkers: A History of Ancient Philosophy.
By Theodor Gomperz; translated by G. G. Berry.
Volume IV. Authorized edition; large 8vo, 687
pages. Charles Scrlbner's Sons.
Science and the Human Mind: A Critical and His-
torical Account of the Development of Natural
Knowledge. By William Cecil Dampier Whetham
and Catherine Durning Whetham. 8vo, 304 pages.
Longmans, Green & Co. $1.60 net.
ART, ARCHITECTURE AND MUSIC.
Art. By Auguste Rodin; translated from the French
of Paul Gsell by Mrs. Romilly Fedden. Illus-
trated In photogravure, etc., large 8vo, 259 pages.
Small, Maynard & Co. $7.50 net.
Fine Books. By Alfred W. Pollard. Illustrated In
photogravure, etc., large 8vo, 330 pages. G. P.
Putnam's Sons. $7.50 net.
Memorials of the Cathedral and Priory of Christ In
Canterbury. By C. Evelelgh Woodruff and Wil-
liam Danks. Illustrated in photogravure, etc.,
8vo, 490 pages. E. P. Dutton & Co. $5. net.
The Mediaeval Church Architecture of England. By
Charles Herbert Moore. Illustrated, large 8vo,
237 pages. Macmlllan Co. $3.50 net.
A Short Critical History of Architecture. By H.
Heathcote Statham. Illustrated, 8vo, 586 pages.
Charles Scrlbner's Sons. $3.75 net.
Forged Egyptian Antiquities. By T. G. Wakellng.
Illustrated in color, etc., 8vo, 155 pages. Macmll-
lan Co. $2. net.
French Artists of Our Day. First volumes: Edouard
Manet, with an Introduction by Louis Hourticq
and notes by Jean Laran and Georges Le Baa;
Puvis de Chavannes, with biographical and crit-
ical study by Andre Michel and notes by J. Laran.
Each illustrated, 12mo. J. B. Lippincott Co. Per
volume, $1.
EDUCATION.
The Rhodes Scholarships. By George R. Parkin.
With portrait, 8vo, 250 pages. Houghton Mifflin
Co. $2. net.
Theory and Practice of Teaching Art. By Arthur
Wesley Dow. Second edition; Illustrated, 8vo, 73
pages. New York: Teachers College of Columbia
University. $1.50.
High School Geography: Physical, Economic, and
Regional. By Charles Redway Dryer. Illus-
trated, 8vo, 636 pages. American Book Co. $1.30.
MISCELLANEOUS.
The Old English Country Squire. By P. H. Ditch-
field. Illustrated In color, etc., large 8vo, 347
pages. George H. Doran Co. $3.50 net.


508
[Dec. 16,
THE DIAL
Wild Life and the Camera. By A. Radcliffe Dug-
more. Illustrated, 8vo. 332 pages. J. B. Llppln-
cott Co. $2. net.
How to Flay Coif. By Harry Vardon. Illustrated,
8vo, 298 pages. George W. Jacobs & Co. $2. net.
Photogrrams of the Year, 19J2. Edited by F. J. Mor-
timer. Illustrated, 4to. New York: Tennant
and Ward. Paper, $1.25 net.
ExtemporaneoiM Speaking. By Paul M. Pearson
and Philip M. Hicks. 12mo, 268 pages. Hinds,
Noble & Eldredge. $2.
The Book of Woodcraft and Indian Lore. Written
and illustrated by Ernest Thompson Seton. 8vo.
567 pages. Doubleday, Page & Co. $1.75 net.
F. M. HOLLY/
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