The Brooklyn Daily Eagle from Brooklyn, New York • Page 37

13 Wide Variety of Exhibitions Inaugurate Art Season Mexican Art Featured BROOKLYN DAILY EAGLE, NEW YORK, SUNDAY, OCTOBER 1930. Manhattan's Beautiful Skyscraper Church Mexican Renaissance New Riverside Church Open for Service Today First services in the Riverside Church, 122d St. and Riverside Drive, Manhattan, the rew home of the former Parle Avenue Baptst Church, of which the Rev. Dr. Harry Emerson By HELEN APPLETON READ" at 11 clock this morning.

Diego Rivera Heads Group of Painters Who Are Rewriting Mexican History from the Revolutionary Standpoint (This is the second uf a series 0 articles on Mexico written by Mrs. Read during a recent visit to Mexico. Others to allow are "The New Education in Mexico," "Cuernavaca, Mexico's Most Popular Weekend DIEGO RIVERA Is Mexico's most celebrated painter. Many critics regard him as the most significant talent of the 20th "Century. Any mention of him in the Mexican press is.

prefixed by "the much discussed." The fitness of the appellation is due quite as much to his reputation as revolutionist and champion of Mexican nationalism as it Is to the quality and kind of his artistic expression. In Mexico art is a natural and national habit and always an expression of life; the artist is not a being removed and apart from the man on the street. He Is the man on the street, and his most eloquent spokesman. Every human emotion from personal Joys and grief3 to nations! causes is given graphic or plastic expression as far back at, Mexican cultural roots can be traced. This innate artistic sense findc expression In the things of everyday use designed and decorated by Mexican craftsmen, as for example their pottery, glass, weaving, basketry and carving, as well as in the so-called fine arts.

The talent displayed by every school child is such as would have him regarded as a potential genius should he find himself transported to an American school. It is no wonder, then, that Mexicans regard painting as quite as effective a medium for expressing emotions about their great fell 'A -Lh. 4 I .4 W-l Wis est enthusiasm the revolution and its ideals as either the press or oratory. It is no wonder that a painter should have become a national s' to I 4M iff utMj tk 'i Stone carvings of immortals feature of magnificent arch -ViLI above main doorway on Riverside Drive. Upper left picture vV 3 4 tj shows gargoyle on south side of the tower.

'Jf w'V' Cj? 'jsmi Dr. Fosdlck continues In his capacity as pastor and will conduct today's services. The church occupies a commanding site almoft opposite Grant's Tomb, on one of the lushest plots of ground In the city. The Impression of extraordinary height created by the 22-story tower is accounted for by the situation and the carefully studied relation of the tower to the main church structure. French Gothic Type The CathecS'Al of Charters hm served as protyp.

the architect, Henry C. Pelton, with whom was associated the architectural lirm of Allen Colltns, having selected 13th Century French Gothic as the style ewst suited for the location nnd the aims of the Institution. The alma may be said to extend considerably beyond those usually prescribed for church activities, and the new building provides adequate accommodations for manv new departments of religious and civic study, service, physical culture and entertainment. A Paradox Justified Although Riverside Church offers another example of the architectural paradox that occurs when traditional style Is superimposed on a modern steel sturcture, in this case the paradox is Justified from the practical standpoint. The architects have utilized the 22-story toner (when was a church spire ever before measured In skyscraper terms?) for chuch offices, school and club rooms, auditoriums and libraries.

Each floor has its special function. It did not occur to the anonymous builders of the 13th Century Gothic that the great spires which surmounted their monumental work could serve any more practical purpose than that of symbolic fingers pointing heavenward. With the sinnle practical purpose of housing the belfry, thev were empty, save for the birds and the occasional visitor, who climbed the winding stairs to get a view of the surrounding country. Carillon Rockefeller Gift So the esthetic Incongruity of 13th Century Gothic superimposed on 20th Century steel construction to a considerable extent assuaged. The tower Includes some of the heaviest steel work ever used in building, made necessary by the un usual weircht of the bells of the Laura Spellman Memorial Cnrlllon in the belfry which tops the tower.

The carillon is a gilt of John D. Rockefeller Jr. In memory of his mother. So also Is the tower. Effective use has been made of the Oothlc tradition of ornamenting the structural features with intricate carvings and decorative work of various descriptions.

Agnin, following the Oothlc tradition, the ornamentation Is in no case ornamentation merely for the sake of ornamentation. Every Figure Significant Every carved finure. stylized In the best Chartres tradition, represents some sage or saint who has added to the sum total of human happiness and wisdom. The pantheon of the eligible has Increased considerably since the unknown Image makers carved their naively smiling saints and martyrs on the portals of Chartres and Amiens. Ralph Waldo Emerson Is the only American admitted.

There will doubtless be considerable diversity of opinion In the matter of this somewhat meaaer representation. Is it possible that America has made so small a contribution to the sum totil of human hinpmess? It will be recalled that among the figures carved on the tympanum of the doorway Is that of Albert Einstein. Inventor of the Einstein theory. One is prompted to ask, Jf Einstein, why not Edison or Morse Each has made discoveries that have Immeasurably widened th boundaries of human experience. Nsve Seats 2,509 Peruns The nave or main auditorium of the church is an Impressive reincarnation of the Gothic spirit.

It follows no definite model and is possibly for that reason more convincing than If, in being so. it inevitably courted comparison with the original. It seats about 2.601 worshippers. Is 215 feet long and 89 feet wide. Walls snd floor are finished in gray-white Indiana lime stone.

The striking contrast made by the deep blue stained glass windows against the white is the outstanding feature of the Interior. Tnrv have been executed bv Reynolds, Francis tc Rohnstock of Boston. Other windows, copies of the rose windows ivt Chartres, are used above the second gallerv. These are the work of the French artists, Jacques Simon and Charles Lor in. C'hanrrl Kcreen Outstanding Feature The chancel screen, carved In white Csen stone by George Brown of Newark.

Is an amarlng piece of craftsmanship. It is the outstanding decorstive feature. It represents seven of Christ's ministry. A chaptl, to be used for small weridinns or other purposes lienthe msm auditorium is not suitable. Is Twelfth Crnturv Gothic Inspired bv the chapel at Carcassonne.

It Is finished In Briar Hill stone of a rich brown tone. The lower floor of the church Is utilized for a gymnasium and auditorium. Fosdlck: was pastor, will be held October Exhibitions Paintings by Heywood Broun are on view at the Weyhe Gallery, 794 Lexington until Oct. 9. Water colors by Leo Rackow are on view at the Dudeneing Galleries, 5 E.

67th through Oct. 12. The Downtown Gallery, 113 W. 13th annonuces that its opening exhibition, which will remain on view tnrougnout ine monm, comprises "Summer Landscapes" by leading contemporary American artists. Twenty-two drawings and gouaches by Pablo Picasso are on view at John Becker Galleries, 520 Madison until Nov.

1. The Montross Galleries open the season with an exhibition compris ing drawings in sanguine by Josef Presser and wood carvings by Paul Duma. The Marie Harrlman Gallery, 61-63 E. 57th opened on Satur day with an exhibition devoted to seven of the leading French point ers, Cezanne, Renoir. Van Gogh, Oauguln, Picasso, Matisse and Derain.

The gallery will be dedicated exclusively to contemporary art and the exhibitions will be International In scope. The Metropolitan Mu.enm announces an exhibition of Mexican art, to be opened with a private view on Monday, Oct. 13. and to the public on Tuesday. The exhl bltion has been arranged by Count Rene Arnancourt and Is spon sored by Carnegie Institute and the American Federation of Arts.

The 29th annual international ex hibition of paintings at Carnegie Institute, Pittsburgh, opens on Oct. 16, continuing through Dec. 7. Fourteen European nations will be represented. In all there will be about 425 paintings.

290 coming from European countries and 135 from the United States. Frank Rehen announces that he is opening his new gallery at 683 5th Ave. with an exhibition comprising paintings bv the artists whose work is identified with the Rehn Galleries. Each picture is shown for the first time and is a new work. The Kraushaar Art Galleries, 680 5th open the season with an exhibition of modern French paintings, water colors and drawings.

An exhibition of Hindu art, held under the auspices of the Art Center and the India Society of America, Is on view at the Art Center, 6 E. 56th St. The Fifteen Gallery. 37 W. 57th announces an exhibition of re cent work by its members, to be on view until Oct.

11. Frederick Keppel tz 16 E. 57th is showing woodcuts by old masters. The Ferargil Gallery, 63 E. 57th announces an exhibition of decorative paintings, ancient and modem, until Oct.

n. The Fifty-sixth Street Galleries announce an exhibition of antique Chinese sculpture and porcelains from Oct. 13 through November. The Pratt Institute Art Galleries announce an exhibition of printing for commerce, the work of the Currier Press. The exhibition Is shown in the library building, Ryerson Brooklyn, through Oct.

15. The Hackett Galleries. 9 E. 57th announce as their opening exhibition paintings by H. Clinton Beagary, John Keating, Berkelv Williams and the first showUik of the paintings of Carine and Ernst Leyden, Dutch artists who have schleved considerable success In Paris.

The Macbeth Galleries, 15 E. 57th announce an exhibition of printings by American artists Mid commencing Oct. 14 the third Mexican set of etchings by Thomas Handforth. The Howard Young Galleries, 634 5th will open an exhibition of English sporting pictures on Oct. 13, featuring the work of Ben Marshall, Femely, Alkrns snd Herring.

The Ehrlch Galleries, 36 E. 57th Bt, announce as their October exhibition "English Conversation Pieces." These charmlnitly Intimate glimpses of Eighteenth Century life in England present phase of pointing that prior to the exhibition held In aid of the Royal Northern Hospital last year In London wss too little known to the general public. The Gatterdam Art Gallery at 145 W. 57th St. announces in exhibition of paintings by American art IMS.

A new museum of art for Washington opened yesterduy. It Is the new Phillip Memorial Gallery, situated at 1600 21st St. In accordance with Mr. Phillips' cherished plan of showing pictures In a domestic setting, the first two floors ot the former Phillips residence have been made ready for changing exhibitions, preserving, however, their atmosphere of ft Ilved-ln home. This allows for considerably larger showing of paintings from the Phillip collection thsn wss hitherto possible.

The collection will be on view weekdays from 11 am. to 6 PA and from 3 until 6 on Sundays. a figure, Diego Rivera is 44 years old. A mestizo, of mixed Indian and Spanish blood, his point of view Is wholly Indianophile. Since 1919 he has dedicated his Gargantuan talent to painting the Mexican epic on the walls of Mexican publle buildings.

His murals rewrite history, from the Mexican point of view. His method of telling the story has the directness and simplicity of an allegory. Ideals of the Struggle. The vast series of murals which decorate the walls of a three storied patio In the Ministry of Education, his most extensive work, give a clearer account of the facts and ideals of the Mexican struggle for independence than any documented statement that the writer has happened upon. It should be the visitor's first objective.

The murals serve as a key and Interpretation to many aspects of Mexico that he might otherwise miss. Mexican types the mestizo, the Indian, the bourgeoisie; Mexican customs; Mexicans at work in the mines, the fields and the factories; the fiestas and dances; the revolution and its fruits the establishing of schools and the distribution of the land; the martyrs of the revolution Zapata and Carillo and the recurrent symbol of the hammer and the sickle all woven into intricate, dynamic designs existing for themselves as works of art. Irrespective of their eloquent story telling. The so-called Mexican renaissance was an outgrowth of the Syndicate of Painters, an association formed by Diego Rivera to assist him in carrying through his nrnlec.t of decorating the walls of publlo Duiinmgs witn murais oe- 1 voted to the revolutionary cause The first building to be so decorated was the National Preparatory School. The group was as ardently nationalistic as Rivera.

Each member was imbued with the Idea of painting the real Mexico as he saw and felt It. Although the syndicate has ceased to function as ft body, the school of painting which It engendered Js not paralleled elsewhere today, from the point of view of racial quality and emotional sincerity. It was a renaissance in the true sense ol the word, ft re-flower-lng of the racial gift for expression, which, under the impositions of various Imported cultures, had been stifled or expressed In hybrid forms. Although Its subject matter may deal with revolutionary themes, It Is not revolutionary painting In the tense that it introduces radical new forms. Major Part The fruits of this renaissance will form the major part of the Mexican Exhibition, which under the sponsorship of Carnegie Institute opens at the Metropolitan Museum on Oct.

13 and will later be exhibited in other museums. Gruening In "Mexico and Its Heritage," the most authoritative book on the subject to have ap peared, attributes the revolution to long-suppressea neea oi sen-expression. "A racial nostalgia," is how ha sums It up. Mexican art is the summing up of this nostalgia. It substantiates ft theory increasingly subscribed to by historians, namely, that art Is as accurate recorder of the history of civilization fts wars and treaties.

In Mexico this theory Is even more applicable, since recurrent revolutions and counter-revolutions make any coherent account an almost impossible and certainly an unreadable feat The artist, because he Is ft more highly sensitized being than the majority of his fellow men. Is frequently ft prophet as well as an historian. He senses changes in the attitude towards life before the world in general la aware that it has happened. Diego Rivera, returning to Mexico to take part in the revolution against Diaz, after having been identified with the bril liant group of modems who centered about Picasso, says that he saw Mexico with fresh eyes. Painted Reforms His painting gave expression to the national feeling that Onioning says occasioned the revolution, be fore the revolutionist recognized It as sucht He painted the reforms that are only commencing to be an actuality: rural schools and the re distribution ol the land.

Needless to aay, although the disciplined technique to which it gave rise stood Mm in good stead, it was necessary to abandon the Cublstio formulas because of their too limited appeal. Only an epic form could tell the story, and murals were the only medium to convey the story so that ha who runs may read. in the course of his sightseeing Mexico City this summer he would have come upon Rivera, perched high on a scaffold perilously Inadequate for his vast bulk, rewriting the history of the conquest on the walls of the National Palace, the spot where Montezuma's palace once stood. If he happened to spend a weekend at Cuernavaca, Mexico's most popular weekend resort, he would have found him decorating the walls of the Cortez Palace with the story of the conquest as related to Cuernavaca. Cortez used Cuernavaca for a summer residence, a precedent followed by Mexican officialdom to this day.

The murals are a gift from 'i. Morrow, a gesture of appreciation for the three delightful years spent there by him and his family in the American embassy's summer residence. It Is a curious paradox and a species of historical retribution which finds a revolutionist rewriting the story of the conquest from the point of view of the conquered on the walls of buildings which for centuries have been monuments to the Con quistadores' achievements. Takes Laborer's Wage Rivera's ardent championing of the revolutionary cause is not skin deep, so to speak. No more conclusive proof of this could be cited than the fact that he takes only a skilled laborer's wage for government commissions.

A villager, pointing out Diego to a group of American visitors, who had come to see the Cortez murals, of him quite unaffectedly as a workman. unconscious that the neonle to whom he was Imparting the fact had come qnnn Mn t. umco una wuiik mn'a a Th. r. man's achievement.

The sum that he is quoted as having received for the Cuernavaca murals is less than the price a fashionable painter sets for a single canvas, and out of this he pays his assistants. It would be difficult to think of Rivera decorat ing the walls of public buildings with murals espousing Socialistic ideals and then amassing a fortune in exchange. Rivera's philosophy of life and his passion for the real Mexico is evinced In the backgrounds of dally life quite as much as in his work. His unpretentious house in one of the old suburbs of Mexico City has the charm that the artists invariably bestow upon their surroundings. Simple to the point of frugality, every piece, from the green table service to the yellow rush-bottomed chairs, serves Its purpose, is beautiful and is made in Mexico.

Eyen the dog is ft hairless Mexican. His interest In the indigenous Mexican expression extends to collecting Its earliest manifestations in the sculpture and pottery of the Aztecs and Toltecs. His collection is one of the finest in Mexico. Native Costume Frida, Diego's beautiful young wife. Is part ot the picture.

She wears the native costume, a tight- bodied, ull-sklrtcd muslin dress, the classic' rebozo draped about her shoulders and massive string of Aztec beads about her slender brown throat. She, too. Is an artist and has her studio next her husband's. She has charming, naive talent and Is only another example of the spontaneous artlstle expresison Inherent In the Mexican temperament. Diego also affects the native Mexican costume to the extent of wearing sombrero, when he wears ft hat at all, and ft formidable gun tucked in ft no less efficient cartridge belt, ft custombre de pals, to which Americans soon accustom themselves.

Diego's gleantle frame, his -genial manner and enormous zest for life belle the profundity and sensibility of his esthetic beliefs. To hear him discussing problems in abstract esthetics, hands on his revolver while he plays with the Mexican hairless, Is a curious experience. It Is, how ever. Just this vitality and gusto which accounts for his warm humanity and prevents him from go ing off on barren abstract tangents, as have so marry of his former Eu ropean associates, or reducing his enthusiasms to raw propaganda. Neither do his Socialistic sympathies prevent htm from seeing the lmag lntlon-stln-1ng element In Amer lean civilization as It baa developed under capitalism.

He has already accepted ft commission to decorate the San Francisco Stock Exchange Club. An It is rumored that In the nearfuture he will receive ft commistbn to do murals for one of the most recent Manhattan sky' scrapers. No one as yet has even glimpsed what murals for ft New York skyscraper should be. If any Mr. Shakespeare New Chicago ARLEY L.

CLARKE, president of the Chicago Civic Shake speare Society, announces a survey made during the summer of the Shakespearean plays studied in universities, colleges and high schools In Chicago and Its suburban territory, disclosing the fact that 312,337 boys and girls have been actively engaged in Shakespearean work. Besides this widespread interest in the plays of Shakespeare, Mr. Clarke has been informed by the subscription department of the Chicago Civic Opera Company that almost every opera subscriber has been inquiring about the second season of the Chicago Civic Shakespeare Society, beginning on the same night as the grand opera season, on Monday evening, Oct. 27, in the Civic Theater, in the big opera house building. Long before any announcement has been made of the plans of the Chicago Civic Shakespeare Society's second annual season's play productions by its permanent Shakespearean Reportory Players headed by Frits Leiber, Interest is being shown on all sides in and around Chicago, and throughout the country following the first tour made by Mr.

Leiber and his associate players of the Chicago Civic Shakespeare Society at the conclusion of the first season in the Civic Theater ending last February. On its first brief tour the following cities were vis ited: Pittsburgh, Washington, D. Philadelphia, Boston and New York. Philadelphia was played for three weeks, Boston for two, New York for three, the New York engagement being extended one additional week owing to the demand for seats. The other cities were played for one week each.

The general consensus of opinion was summed up by the Literary Digest at the conclusion of the tour, ending in an extended engagement In the Shubert Theater in New York last April, saying in a two-page editorial headed. "Shakespeare from Chicago: Frits Leiber brings Shakespeare to earth. And it must be admitted that a goodly audience welcomed him there. If Shakespeare ceases to be highbrow he may divide allegiance with the movies." From all of the universities, colleges and schools canvassed In the survey conducted throughout the summer months the first count In the plays studied shows an overwhelming choice for "Hamlet." "Macbeth" received the second count. Then came 'The Merchant of Venice." followed In order by "As You Like It," "Julius Caesar." "Twelfth Night," "Richard th Third" and 'King Lear." "King Lear" did not score heavily with the high schools, but Its count in eighth place was determined by a check of the four Chicago universities, which include the play among those stud-led in their sophomore classes.

The survey does not Include the plays studied In the technical Shakespeare courses of the universities, where almost all of the plays are read, but covers the classes of English and dramatics required or open to the general student bodies. Th choice of the plays her Is i Is Not Dead, Survey Shows read previously by the pupils reg- istered in the courses, but takes in almost always the eight chosen, the check shows. From the completed survey, the Chicago Civic Shakespeare Society finds that its school and university potential audience numbers 357,262 young persons actually under the Influence of Shakespearean study within the Chicago territory. And this does not include special and dramatic schools. The University of Chicago has approximately 14.000 students; Northwestern, 12.000; Loyola, S.309.

and De Paul, total of 37,709. Besides the 130,908 students in high schools where Shakespeare is taught, there are 25 Junior high schools of the city numbering 29,533 pupils; 86,520 seventh and eighth grade pupils of the 309 elementary city schools, 30,000 seventh and eighth grade pupils of suburban elementary schools, 33,793 seventh and eighth grade pupils of the 382 Catholic elementary schools in the territory, all of whom read In their English work some of those eight Shakespearean plays. In addition, Chicago Normal College, with an enrollment of Crane Junior College, with 3.281; Armour Institute of Technology, with 2,100, and Lewis Institute, with 2.200, also have English work including the same plays. Besides those eight, the plays studied In the high schools vary considerably. The 24 public high schools of the city, with an attendance of 79.054, place next In order "Midsummer Night's Dream" and "Taming of the Shrew," the latter presented last year by the Chicago Civic Shakespeare Society players.

The public high schools of the suburbs and nearby towns in the survey, numbering 30, with attendance of 30,587, also named these two as ninth and tenth choice and added "The Tempest." The Chicago Civic Shakespeare Society, organized last year through the generosity of Harley L. Clarke, has on its board of trustees Dr. Robert Maynard Hutchlns. president of the University of Chicago; Dr. waiter Dill Scott, president ol Northwestern University; the Rev.

Robert M. Kelley, S.J, president of Loyola University; Dr. John Mathews Manly, head ot the English department University of Chicago; Dr. F. R.

Moulton, Rufus C. Dawes, Booth Tarklngton. Meredith Nicholson, Frederick H. Rawson, C. B.

Stanton, Nathan William Mac-Chesney, Charles W. Hlgley, Olenn Griswold, Henry Justin Smith, John O. Shaffer, J. P. Blcket and Mr.

Clarke. Warner Brothers used a real girl as ft model for their big Winter Garden sign for "The Office Wife." having her seated in the lap of ft man at a regular desk placed on the marquee while painters drew them. Businessmen passing with wives had quite Job convincing their spouses that It was no more than an optical illusion. The Ackerman Galleries, SO E. 57th St, anounce an exhibition of landscapes of Charleston and magnolia gardens by Fanny Mahon King and water color and tempera paintings of birds and flowers of the South Carolina woods end rice fields by.

von Dingle. tf-JI frwnAwt IS. Louis version Is probably the original and the tale of the events which led to Its inspiration as revealed in the play by Mr. Kirkland tends to establish this rendition and also to date the ballad as 1850, instead of the much later record which has been lately suggested. If the tragedy of Frankie, Johnnie and "that girl called Nellie Bly" was enacted in 1850 there is no doubt that the man in the case was named Johnnie.

There Is a version of the song which called the hero of the tale Albert, and if this version is correct the drama might have unfolded as late as 1890, and in this case Frankie was an ebony- hued lady and is still alive. There is every reason to believe that the woman who claims to be the Frankie of the song is a second who repeat ed the drama of the original high-tempered though loving lady with a gentleman whose name was Albert and In this way the Frankie and Albert version may be accounted for. There seems to be no doubt that the lady in the case, black or white, 1850 or 1890, was called Frankie. The man was either Johnnie or Albert, although from Mr. Klrkland's researches he is positive that Johnnie was the gentleman and he lived In the 1840 s.

The other woman in the case, as most other women in the case, is even more vague as to nomenclature. We know practically everything about her except her name. It may have been Nellie Bly, Nellie Pry, Alice Bly, Alice Pry or Alice Pry one. So many tongues gossiped that there are trace of innumerable stories. But whether Al-berot or Johnnie, Alice or Nellie, the fact In th case remain, the ballad Is still the tensest, most dramatic of our folksongs and the play, based as It Is on the events which Inspired the musical composition, can be no less.

An original Illuminated chart by Ernest Clegg of th international yacht race Is on view at the Arthur Newton OaJlery. 4 Mth Street, 1 1 I i f1 21 W'u mm 4- 01 Who Was Frankie? Who Was Johnnie? For a half century, perhaps even longer, "Frankie and Johnnie" has been the most popular and widely known ot our folksongs. Now, after all these years, some one has seen fit to Investigate the scries of events on which the song Is founded and cast them Into dramatic form. The play "Frankie and Johnnie" Is now at the Republic Theater. John M.

Kirkland is the author. Balladry and folksong, according to him, owe their perpetual existence to the universality of their appeal and to the dramatic quality of the story they unfold. The greater the appeal to the basic emotions the greater the likelihood that the song will linger on the tip of the Nation's tongue. "Frankie and Johnnie" contain, therefore, some element of the universal appeal, for it has survived In popularity for, according to some records, three-quarters of a century. It is true that it concerns no more than the triangle of Frankie, Johnnie and "that girl called Nellie Bly," but since triangles are no rare occurrence there must be something either more dramatic or more Impressive in It simplicity to hav brought It to its position in American folksong.

'Frankie and Johnnie" the song. In spite of the lack of Intercommunication which existed In the last half of the 19th Century, spread throughout this country, being altered by almost every rendition so that today It Is almost Impossible to select the authentic original verses. The universality of Its appeal, among the mountains or Virginia as well as the plains of Texas, demonstrates Its power and dramatic qualities. Excluding 50 or more verses of doubtful origin, there exist today four versions of the folkson known as the 8t. Louis, the Memphis, the Mountain and to Cowboy.

The St. ISLi'i MarieHarriman GALLERY OPENING EXHIBITION October 4th to 31st 61-63 Eat 57th Stret NCW VOStK i missssr tt to pIajs not.