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NEW art has been born. Or at least we have just seen the announcement of its birth. Sculptors have found a new medium which promises to give utility even to bad workmanship.

The Art Center in New York recently presented to admiring visitors a group of carvings in soap. Whether or not the serpent of publicity lurks behind these entertaining achievements in the new medium or not, we are not qualified to say. The exhibit, however, holds a highpromise of future achievement. There may come a time when all our municipal statuary will be cast in soap. Heaven speed that day so far as much statuary is concerned! We know of many noble warriors and cast-iron firemen and heroic frock-coated statesmen whose effigies are best suited to just such a medium. When the rains come, the statues would automatically aid in the cleansing of the streets. If anything remained after some providential downpour, the residue could be turned over to the municipal baths. "I went in swimming last night with Senator Bunkum," may become a common boast if our hopes are fulfilled.

Speaking of hopes, there is another exhibit at the Art Center which will doubtless bring vast encouragement to legions of fathers and mothers. It is an exhibit of the early work of great artists, and it includes in its list the pencil

sketches of such men as Sargent, Blashfield, French, and Guérin. An early

gent's first portrait. Lay it beside little Willie's first efforts, and then guess what the future holds in store for him.

Studying After College

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APID reading courses in French novels and drama, rapid reading courses in English novels and dramathe college woman seems to be swamped with reading, yet she still wishes to continue it after graduation. A plan for alumnæ study, modeled somewhat on that adopted by Amherst but more extensive, has been adopted by Smith College. Lists for suggested reading were sent to over 8,000 members of the Alumnæ Association, and over 1,700 have enrolled to receive a specified reading list. These lists include twelve topics taken from the Departments of Economics, Sociology, English, Government, and History. The most popular titles are "International Relations," "The Study of Biology," "Historical and Local English Novels," "Political Parties and Current Politics," "The Ideas of Galsworthy, Chesterton, Shaw, and Wells."

The plan as proposed and agreed to by the Faculty and trustees does not go beyond supplying a limited and specified number of lists of reading arranged with a view to gradual development. There will be no examinations or reports upon the reading except to discover the use and value of the plan, in the spring. The idea is not to improve the minds of un

F'hotograph by Margaret Watkins

"The Rabbit," by Simon Moselsic
(Third prize)

willing alumnæ nor to make the task unpleasant by requiring definite knowledge, but merely to continue intellectual contact with the College. It is not a university extension service; no credits towards degrees are connected with it, no preparation or correction of papers. It is not for professional training.

In the Department of Government there will be readings in international relations, municipal government, and current politics; in Economics and So

ciology on the labor movement, industrial organization, social maladjustments, population problems, and contemporary theories of race.

In amount each list will approximate a winter's work, so the most satisfactory results will probably come from concentrated reading from a single list at a time. The working out of such a plan will enable some 2,000 former Smith students as many as are now studying under direct supervision of the Collegeto continue their connection with that College in a new way.

Spain's Great Painter IGNAZIO GNAZIO ZULOAGA, a great painter of Old Spain, recalls the incomparable Don Quixote. This we offer as no small tribute to a distinguished visitor. One of Zuloaga's studios faces the windmill at Montmartre. One could easily imagine him tilting at it idealistically as a symbol of the modern things he abhors.

Zuloaga once defined himself to a correspondent of The Outlook as the exact opposite of his long-popular compatriot, Sorolla, who loved to paint his modern Spain in the hot sunlight. Zuloaga is, in a way, a visionary. But he is also an amazing craftsman. From his most famous forerunners-among them more particularly El Greco-he has borrowed much, adding to their skill and technique the charm of his own fascinating character. His art, as he has himself explained, is cerebral. His vision-his conception of the subjects which he paints-is, in our day, unusual.

The very theory that. there were a people beyond that fiery zone who were barred from access to the known world was condemned by some of the clergy because, as John Fiske says, it implied "the ex-¡ istence of people cut off from knowledge of the Gospel and not included in the plan of salvation." If the truth sustained this theory, the truth would itself be a heresy. It was much to risk one's comfort and even life; it was more to risk one's beliefs. There was fear, then, not only of what might be endured, but of what might be discovered.

In his address to the scientists gathered at their annual meeting at Washington President Coolidge said in substance that this fear of the truth was now a thing of the past. He said to these wonder workers:

We trust ourselves to you. Perhaps with some doubt as to what you may finally do with us and to us, but at least with firm convictions that your activities will save life from becoming very monotonous. And besides, we realize that if we did not give you our confidence you would go ahead without it.

It is a wonderful thing to live in a time when the search for truth is the foremost interest of the race. It has taken endless ages to create in men the courage that will accept the truth simply because it is the truth. Ours is a generation of pioneers in this new faith. Not many of us are endowed with the kind of mental equipment that can employ the scientific method in seeking for the truth. But we have advanced so far that we do not fear the results of that process.

What the President says is not true of

clared that it is painful to him even to hear himself talked about and to send his pictures out into the world. Yet he has been closely associated with one of the more practical forms of Spanish art. It was his father, Placidio Zuloaga, who rediscovered the secret of the art of damascening, for which he was decorated by the French Government. His birthplace, the small town of Eibar, in the Basque country, is a hive of industry, very different from the bright, sensuous cities of southern Spain.

This, perhaps, accounts for his reported intention during his stay in the United States to see some of our humming lives. In Pittsburgh, Chicago, and in other towns he may find subjects to inspire him with strange pictures. Transferred to his canvas, our stockyards, our foundries, and our mills may be informed with rare, new meanings. But when he

F all fears that men have defied there is none greater than fear of the truth.

Not many centuries ago men who sailed the seas faced perils of which we never think. There were dangers not only of wind and wave, but of unknown monsters, dragons and devils, of sorcery and magic, of fabulous uninhabitable regions of freezing cold, and equally uninhabitable and equally fabulous regions of literally broiling heat. As John Fiske recounts in his famous work "The Discovery of America," it was thought by some that between the known world and the antipodes there was a burning zone which it was impossible to cross. Men who sailed southward went with fear in their hearts, but sailed in spite of their fear. It was something more than fear of physical danger that these voyagers surmounted; it was fear of the truth.

what the truth may disclose and raise their voices against the searchings of science; but they are not of one mind with him who said, "Ye shall know the truth, and the truth shall make you free;" nor do they represent the tendency of the Church to-day.

No longer is it sufficient for the theologian to be versed in tradition and devoted to the preservation of doctrines; the theological scholar and teacher distinguished for leadership in these days must be as single in the search for truth and as ready to welcome what it reveals as any biologist or astronomer.

That churches to-day are ready to welcome the discoveries of the truth, however they may be made, is indicated. by the success of an institution serving the churches which is characterized by this fearlessness in the search of the truth. Union Theological Seminary,

New York, founded eighty-nine years ago, has from its beginning had the spirit that has animated explorers and searchers for truth in all ages. It has never sought controversy, but has held to its faith in the truth and maintained its right to that faith in spite of opposition. Its main purpose is not to educate scholars, but to train ministers; but it realizes that the minister, if he is to plant and cultivate the religious spirit in these days when old ideas have been supplanted by new, must not fear the truth but welcome it and lead others to welcome it too. As President McGiffert, of the Seminary, has recently said: "If Christianity is a living religion, as it surely is, it must show itself equal to the changing situation as it always has, and must move forward with the advancing intelligence of the age." Because it has had this spirit Union Theological Seminary has gained a place of leadership and has been rewarded by finding itself burdened with increased responsibilities. It is the largest graduate theological institution in the country. It is wholly undenominational. Though academically affiliated with both Columbia University and New York University, it is organically independent. In the Faculty are represented seven communions, and in the student body thirty-nine. Because it is free and has its mind on the substance and not the form of religion, it is rendering great service to the cause of church union. It is now engaged in an undertaking to add to its resources $4,000,000. This is not because it is a struggling institution needing to be resuscitated, but a strong one called upon to do more work than its present facilities will permit it to. Of the $4,000,000 it needs and seeks, it has raised in a few weeks over $3,500,000. Those who believe in this kind of leadership for these days when we are approaching, if we have not already entered, a period of religious renaissance. can support such leadership by contributing to this fund. The Seminary should find the remainder of what it is asking for coming to it without further solicitation.

Profound as seemed to the people of the ancient world the mysteries that surrounded them, the mysteries of the universe as we know it to-day are incomparably profounder. The expansion of knowledge has not reduced the field of religion; on the contrary, it has made it greater than ever. Science has not usurped the place of religious faith, but

to the old-timers, and exactly as "Alice in Wonderland" requires Sir John Tenniel and nobody else for an illustrator.

This is a natural but unfortunate attitude of mind. So good a play as "Peter Pan" ought not be retired from the stage because Miss Adams chooses to appear no more. Miss Marilyn Miller is a pretty lady playing a boy's part, exactly as Miss Adams was. Neither gives much illusion of masculinity. Both are sweet and charming. Miss Miller is a more graceful and practiced dancer, and so she dances more than her predecessor did. She is not gifted with the curious grimacing smile nor with the whimsical and humorous tone of voice which Miss Adams could assume at certain moments, when they were extremely effective. Those who saw Miss Adams's Peter when the play was brand-new, and were captivated by the peculiar charm of the actress, were of course nearly twenty years younger. The result of comparison between the two productions is obvious. But that is not to say that Miss Miller's Peter is not admirable: a play to see, and by all means to take children to see.

Nana, the dog nurse, performed by Thomas Bell, is better than ever. Violet Kemble Cooper, as Mrs. Darling, gives the most satisfactory rendition of the part of any of the actresses, on stage or screen, a beautiful interpretation of maternal tenderness. Smee, the pirate with the sewing-machine, is also the best imaginable; he is played by an English actor, Edward Rigby. And Leslie Banks as Captain Hook does full justice (as far as the version allows) to the pirate chieftain for whom the alligator has conceived an overweening taste. But the scene of the last moments of Hook has been slighted rather than elaborated in Miss Miller's production, and compares ill with the same incident in the movie version.

On the screen Miss Betty Bronson, a very young but accomplished actress, with a piquant and boyish face, plays Peter Pan. She was selected by Sir James Barrie from among a number of competitors, and has thus had a sudden rise to eminence as a moving-picture player. It is to be hoped that she will play it also on the speaking stage. There is something like Puck, something mischievously elfish in her expression, and no lack of grace and agility. Ernest Torrence, the old scout of "The Covered Wagon," plays Captain Hook, and he is close to perfection; he makes properly

ridiculous the man of blood and dark deeds who triumphs in the capture of little boys, but turns pea-green at the ticking of the alarm clock in the alligator's gizzard. Another good Nana, perhaps the best of all, in his cavortings, his galumphings, and his grief, is given by George Ali. And no better Wendy has appeared on the stage than the screen presentation of Mary Brian. The boys of Peter's band are played here by real children, and it is an immense improve

ment.

The scenes outdoors, the tricks and the magic, can, as usual, be done in the movies as they can only be suggested on the stage, but the movies fall down, of course, through their lack of the human voice. One longs to hear Captain Hook repeating-not to see the flickering letters writing bits of it-his fine soliloquy in the hour of triumph, when he has captured the infants: "All mortals envy meh!" and so on. The movies can show Tinker Bell, a beautiful little fairy, wings and all, and about three inches high,

contrasted with Peter's five feet or thereabouts. They can show a beach covered with mermaids, and have the mermaids crawl with some difficulty, owing to their natural limitations as to feet, into real waves, where they are more at home. They can show the children flying over the tree-tops-not merely lifted by wires from one side of the room to the other. And they can make the pirate ship itself suddenly take wing, when ordinary navigation becomes too slow for the home-bound children, and rise into the air like a sea-gull. They can be accompanied by the plaintive incidental music and the orchestral accompaniment of the pirates' song. But they lack the pathetic notes of Mrs. Darling's voice, the bellowings of Hook and his crew, and the triumphant speech of Peter, before he dashes at the pirate for their last encounter.

This last fight, by the way, the final submission of Hook, the amusing exchange of courtesies between victor and vanquished, and the ceremonious walk

ing of the plank by the defeated pirate (with the epilogue by the alligator) are inimitable in the movie play, and far better than in Miss Miller's version. And this was not a difference of opportunity, but a failure, apparently, by the producer of the stage play to appreciate the possibilities of the scene.

Football, Quo Vadis? OOTBALL is to go through at

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least another season without substantial change in rules, and hence in the type of play. Although the American Football Rules Committee has not yet met, its action has been forecast by the recommendations of two powerful organizations, the Eastern Association of Football Officials and the American Football Coaches' Association. These recommendations will be followed without doubt. There is only one change of moment. That is the restoration of the kick-off to the 40-yard line. This is wise, since it restores one of the prettiest plays

Knickerbocker Theater, New York City

of the game, the run-back of the kick

off. Beyond that, and the final knell of the onside kick, the changes are in the nature of a clarification of the existing regulations.

Good coaches, notably at Pennsylvania and West Point, and later Sanford at Rutgers, worked for years to do something with the onside kick. It never proved a reliable play, although it helped to menace the defense. The Army beat Yale with it in 1909, but it accounted for no other victory in recent years. It had a fair trial in good hands, but the very shape of the ball, making it impossible even for the cleverest kickers to predetermine the direction of the bound. earned it the death sentence. Hereafter on kicks from scrimmage no man of the kicker's side is onside.

The majority at both big meetings, representing all sections of the country. in favor of football as at present stabilized was overwhelming, and the reason is not far to seek. The plain and not too palatable truth is that the game is now the property of the masses-the masses who seek thrills and individual feats of prowess, and who care little for the finesse of line play and other matters having to do with delicate team adjustment. This is the public that fills the huge stadia and whose dollars, poured into the football coffers, support all other branches of college sport.

As one old-timer sadly put it, "The

game has gone West." He might have added that it is ricocheting Eastward in Western hands.

Most of the controversy at such times as the minority dared to seek a hearing has been over the forward pass, which the originators of football in the Eastern colleges have always maintained did not belong to the game. They have maintained that it is a "gamble." In this they are only partly correct, since the spread of the game in the schools has familiarized the youngsters with the free and accurate handling of the ball to an extent little known in the old days. And yet it is still possible to gamble and win with it when other devices fail against a team better equipped with those other devices. About this, however, the mass of the football public cares not a whit. It produces action, and that is what is wanted. It produces upsets, and upsets form the succulent football fare of the present generation. It is possible that in time there will be some sort of reaction, some backward swing of the pendulum. but of that there is no immediate prospect.

It is true, as the old-timers maintain. that line play has been revolutionized. It has not, as Sanford says, "disintegrated." He does not like the new line play, probably because it requires much less finesse than the old style. The sweep style of football, first set in motion by Glenn Warner, with its consequent direct

passing of the ball from the center, made football a "flying game." The old "unit line" has passed, giving way to a series of individual assignments such as are laid out for the backs. Granted the necessary speed, it is much easier these days to make a line man out of a back or a back out of a line man. The immediate duties of the line positions have not the great variance of the old days.

Those who have built up the modern game, aided by the forward pass, claim to be progressives. Did they but know it, they really are reactionaries, for the game at present, with its shaken out formations, more nearly resembles football of the eighties than of the nineties and the subsequent years just prior to the advent of the forward pass. To the old-timer much of the enjoyment is missing. It will continue to be missing as long as the public demands above everything else speed in sport. Indeed, much of the finesse of team play in hockey has disappeared since the teams were reduced from seven to six men. The emphasis on individualism in sport grows steadily, and the rule makers in football, many of whom regret much of the lost "inside game" themselves, must unavoidably react to the tendency of the time. However, there is a vast amount that is highly enjoyable in the present type of game. One must simply adjust one's self to the type, and move on with the multitude.

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Democrats'-to

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Place aux Jeunes"

We also see the French embassies and

their dues in France.

Last May's elections were victorious for the Radicals and Socialists, united in a Cartel des Gauches. On the morrow of the elections the newspaper that is supposed to reflect the mind of Edouard Herriot, the Radical leader, published this slogan: "Toutes les places et tout de suite." (All the offices-and right away.) Happily, tout de suite was impossible, so this "right away" programme had to wait a bit. But, as is also still too much the rule with us in America, despite our merit system, so here, "all the offices" meant specially those most in view-Death loves a shining mark!

year, we see a new occupant going from France as High Commissioner for Syria. This post has been occupied by General Weygand, the savior of Poland, Marshal Foch's right-hand man, who is doing a great work in Syria. But both Foch and Weygand are fervent CathFoch and Weygand are fervent Catholics. The present Premier is a "freethinker." So the place is now given to one not suspected of clerical tendencies, namely, to General Sarrail, commander of the Macedonian army in the war. He was, as will be remembered, at odds, not only with the Greeks, but also with the Italians, the English, and even with his own compatriots, the French.

some of them, like MM. de Fleuriau at London, Daeschner at Washington, and Count Perretti at Madrid, men of marked ability. But why the change? "Place aux jeunes," cries M. Herriot. Yet he knows perfectly well that M. Barrère, for twenty-seven years Ambassador at Rome, and M. Jusserand, for twenty-two years Ambassador at Washington, in vigorous health, represent an experience, a prestige, and an influence impossible for years to come to younger men, "les jeunes." What doubtless mostly moves Premier Herriot is the desire of the Socialists, riding on his back and controlling him, to get men into