the Inter-Library Loan. I certainly congratulate the Library on the possession of such a treasure.

For the benefit of bibliophiles, I give a collation of both editions: OBSERVATIONS, / Good or Bad, / STUPID OR CLEVER, / SERIOUS OR Jocular, / ON / Squire FOOTE'S / DRAMATIC ENTERTAINMENT, INTITLED, / The MINOR. By A Genius. / Audire, atque togam jubeo deponere, quisquis / Ambitione mala, aut argenti pallet amore. HOR. / EDINBURGH:/ Printed in the Year MDCCLX. / Sold at all the Coffeehouses. / [Price Three Pence.] COLLATION: 8° printed on half-sheets, 434′′ × 74" (No signs of having been cut down); p. 15, as follows: p. [1], half-title (cover), OBSERVATIONS / ON THE / MINOR (This is missing in the New York copy, but is inferred from the second edition, which follows the first in every detail); p. [2], blank; p. [34], title-page as above, with blank reverse; p. [5]-15, text of the "Observations." Pages from 6 to 15 numbered centrally with Arabic numerals enclosed in square brackets. Catch-words on each page. Signatures, [A] and B, each one half-sheet, four leaves.

SECOND EDITION: Identical with the first except for the imprint and minor typographical differences. The imprint is LONDON; / Printed for J. WILKIE, at the Bible in St. Paul's Church-Yard. / MDCCLXI. / [Price Three Pence.] / (In all copies, "Three" was crossed out in ink, and "4" written above the line.) It was printed on somewhat larger sheets, the pages measuring about 5" x 8". Pagination and even division of words at the ends of lines identical with the first edition, which it follows so closely as to be practically a fac-simile. There are, however, numerous small typographical differences, of which the following are the most striking: (1) In the first edition, there are no periods after the contractions "Mr." and "Mrs."; in the second edition, they are invariably followed by periods. (2) There are no broken dashes in the first edition, but several in the second. (3) There are two misprints in the second edition: p. 7, 1. 10, "Princes" for "Princess"; p. 15, 1. 2, "msmic" for "mimic."




'HEN it was decided to arrange the exhibition of "Europe Through American Eyes" (prints by Americans of European scenes), now on view in the Print Gallery, it was found that inclusion was much easier than exclusion. Yet the latter had to be rigidly practiced; limits of space kept out many a picture of a place that one would have liked to see represented.

The subject is naturally very strong in an exhibition such as this, and may quite conceivably draw many who might perhaps not use the elevator to see etchings by a given artist. If so, all the more reason for the exhibition. Good art can only benefit if it is brought attractively before those whose initial approach represents a point of view not primarily aesthetic, and can be made to hold their attention.

So, then, in the present exhibition, while interest in various localities in Europe is met, it is met so finely, through the work of the artists represented, that realization of the artist's job well done is bound to be awakened. Moreover, the prints on view will make, to the print lover, their appeal on grounds that meet his taste and his prime requirements, so that the two proverbial birds are bagged.

The exhibition is really intended to give a crisp résumé of what is being done to-day, in our land, in the etching, engraving on wood, and lithographing of city views and country scenes. And it goes back a bit, also, to foundations, noting origins in the days of the New York Etching Club of the eighties and nineties of the past century. That period connects with the present through the work of Mielatz and Pennell, and in spirit through the group that was with Whistler in Venice or came under his influence then or later (Duveneck, Bacher, Washburn and others), seeing and picturing the city in a modern spirit, in sunny impressions of her cool arches and picturesque balconies and architectural ornament. (Whistler himself, always a resident abroad, is omitted; he has been, and will be again, seen in "one-man shows" here.)

Familiar and unfamiliar spots in meccas for the American etcher such as Paris, Venice, Florence, London, are presented by Platt, Blum, Roth, Covey, Hornby, Gleeson, Partridge, Winslow, Orr, Aid, Chandler, Jaques, T. R. and A. V. Congdon, Plowman, and others. There's the unusual bit, say Nankivell's interior of a Chelsea church, with Whistler's funeral going on. Chartres, Rouen (e. g. Pennell's cathedral), Rheims (bringing an echo of the War) and other cities show their charm and attraction, as do out-of-the-way places and

the countryside (in England, France, and Spain), in etchings and lithographs by Colman, T. and M. N. Moran, Weir, Horter, Warner, Katherine Kimball, Burr, J. André Smith, Leigh, Pandolfi. Holland, land of Rembrandt, may be seen with the eyes of Pennell, Vanderhoof, A. T. Millar, each with his own outlook. Or one may juxtapose quite different subjects, viewpoints and processes, say MacLaughlan's "Lauterbrunnen" and Ruzicka's "Fountains of Papal Rome" (engraved on wood). You may travel to Czechoslovakia with Vondrous, to Germany and Austria with Bacher, or to the Swedish coast with Olsson-Nordfeldt. But you travel always, in this exhibition, with spirited


These guides speak in various ways, one objective, the other subjective, one straightforward, the other a bit dramatical, but all in an engrossing manner. There is here a wealth of local interest and of artistic expression, and it is all to be seen until the end of March.

-F. W.



URING the month of December, 1924, there were received as gifts

15,887 49 maps, and 95 prints.

more important and interesting of these gifts were the following:

From the Estate of Robinson Locke came the second and final instalment of the dramatic clippings bequeathed to the Library, comprising 135 bound volumes and 42 cases of loose material. The entire collection comprises 492 bound volumes and 42 cases of unmounted clippings.

From Mr. Jules S. Bache (through the Committee of Diffusion of French Art) came, in continuation of his gift of November, 41 French prints including 9 woodcuts by P. Vibert, 10 woodcuts by P. E. Colin, 10 woodcuts by Georges Darcy, and prints by Demarle, Perrin, Memmeri, and Naudin; also a copy (No. 19 of 50 printed on Japan paper) of "Aristide Maillol," by Octave Mirbeau, Paris, n. d.

Dr. Van Horne Norrie gave the Library a collection of 28 prints, including engravings by Beham, Pencz, etchings by Haskell, R. F. Logan, W. AuerbachLevy, Lopiszich, Haig, and one lithograph by Joseph Pennell; also a collection of 234 volumes and 1 pamphlet, mainly history, biography, belles-lettres.

From Mr. I. N. Phelps Stokes came Parts 1 and 2 of Volume 1, and Volume 3, of the "Stokes Records; Notes regarding the Ancestry and Lives of Anson Phelps Stokes and Helen Louisa (Phelps) Stokes, by Anson Phelps Stokes," New York, Privately printed, 1910-1915.

From Hon. Samuel Greenbaum came a collection of travels, fiction, biography, etc., comprising 72 volumes and 13 pamphlets. Hon. Morgan J. O'Brien gave the Library seven lithographs of old New York.

From Mrs. Charles P. Noyes came the two volumes (one of four sets only, made for the Palisades Library, the Library of Congress, the State Library at Albany, and for Mrs. Noyes) of "The Story of The Ferry, Being an account of the Ferry, between Dobbs Ferry, Westchester Co., N. Y., and Snedens Landing, Rockland Co., N. Y., on the Hudson River, established about the year 1698; also Nicholas Gesner's Diary and other papers relating more or less to the History of Palisades, N. Y., compiled by Winthrop S. Gilman, Palisades, Rockland Co., New York, May 30, 1903," and the "Index to The Story of the Ferry.'

From Mr. Raymond B. Fosdick came volumes 1 and 2 of the "History of Interchurch-World Movement of North America" (typewritten copies); from Mrs. Bella C. Landauer, a copy of "Galileo, Madama Christina Lorens, 1615" (a miniature book, Padova, 1896); from Miss Mabel Lewis, five facsimile reprints (the New York Directory for 1786, and the Poll Lists of the

Election for Representatives for the City and County of New York, 1761, 1768, and 2 copies of that for 1769); from Mrs. R. A. de Lima Mayer, a Dutch Bible, printed at Dordrecht, 1740, by Jacob and Hendrik Keur; from Mr. and Mrs. John Long Severance, Cleveland, a copy (No. 171 of 300 printed) of the catalogue of the Collection of Arms and Armor presented by them to the Cleveland Museum of Art, 1916 to 1923, written by Helen Ives Gilchrist, Cleveland, 1924; from Prof. Joel Elias Spingarn, a copy of “Criticism, an unpublished essay, by Walt Whitman," Amenia, N. Y., 1924 (Troutbeck Leaflets, No. 2); from Miss Jean Sneddon, 4 volumes of "The Music of The Modern World... Anton Seidl, Editor in Chief," New York [cop. 1893]; and from the Tokyo Imperial University, a copy of the illustrated work "Disaster of September 1st, 1923, as it affected Tokyo Imperial University and Other Places, compiled by the University Library.”

Mrs. C. B. Herrick gave the Library an album of photographs of the Class of 1869 at Yale, and a copy of the "Seventh Biographical Record of the Class of 'Sixty-Nine, Yale College, 1894-1899."

Interesting and valuable collections were received from the following: Rev. Dr. Chayim Heller, Dr. G. Langmann, Dr. Louis Levine, Mr. Isaac Rivkind, Mrs. Howard Townsend, Mrs. Waring, and Mr. William Grant Wilson.

The following gifts of prints were received: From Mrs. Myrtle A. Crummer ("Dressing Room," an aquatint by Laura Knight); from Martin Hardie, Esq., London (two etched portraits of himself, by James McBey); from Mr. W. R. Leigh (three of his etchings, "Navajo Pony," "Hopi Burros," "Roping"); and from Mr. J. Paul Verrees (his etching, "The Swan, Bruges").

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