THE GUARDIAN SECURITY, TRUST AND DEPOSIT CO., No. 7 North Calvert Street, Baltimore, Md. This Company does a General Trust and Banking Business. Interest allowed on Deposits. Acts as Executor, Administrator, Trustee,-executing Trusts of every kind,-Receiver, Guardian, etc. Interests or Dividends Collected, Real Estate managed for residents or non-residents, etc. etc. President, Secretary and Treasurer, Daniel Miller and Jonathan K. Taylor. William M. Byrn. Blake, Francis A. White, Matt C. Fenton, Lewis A. Gusdorff. Wm. H. Bosley, Chairman, Henry C. Matthews, Daniel Miller, John L. Edward Stabler, Jr. Executive Committee: Vice-Presidents, INSURES LIVES, GRANTS ANNUITIES, RECEIVES MONEY ON DEPOSIT, ACTS AS EXECUTOR, ADMINISTRATOR, GUARDIAN, TRUSTEE, ASSIGNEE, COMMITTEE, RECEIVER, AGENT, ETC. All Trust Funds and Investments are kept separate and apart from the assets of the Company. President, SAMUEL R. SHIPLEY; Vice-President, T. WISTAR BROWN; Vice-President and Actuary, ASA S. WING; Manager of Insurance Department, JOSEPH ASHBROOKE; Trust Officer, J. ROBERTS FOULKE: Assistant Trust Officer, J. BARTON TOWNSEND; Assistant Actuary, DAVID G. ALSOP. PENN MUTUAL LIFE INSURANCE COMPANY Historical Collections Relating to Gwynedd. First Edition, 1885.-Second Edition, 1897. Octavo, 464 pages. With 8 Illustrations, including 3 original Etchings, by Blanche Dillaye. By Howard M. Jenkins. Office, 921 Arch Street, Philadelphia, Pa. Price, $4.00 net. (Postage, 23 cents.) Pennsylvania Magazine of History and Biography. "We have received a copy of the second edition of this valuable contribution to our local history and genealogy. Within a few years after the issue of the first edition, in 1884, it became exhausted, and the author has now responded to the call for a second edition, which has long been wanted. . . The ramifications of the families who settled at Gwynedd and vicinity are so extensive that in all probability this edition will be exhausted as rapidly as the first." The Literary Era, Philadelphia. (Genealogical Department, Edited by Thomas Allen Glenn.) "We believe that local histories seldom atttain the honor of a second edition, except when especially valuable as a strong sidelight upon the times they represent, or when they contain original genealogical material not obtaina ble elsewhere. Mr. Jenkins's book is rich in both elements, and shows evidence of laborious and scholarly research. The book treats of The book treats of a most interesting and picturesque even, Harriet W the settlement of the W... Eck "Penn" in The Evening Bulletin, Philadelphia. "On this work, when first published ten years ago, he had expended much research, and the result is a volume filled with all that is most interesting and worth knowing in the annals of the substantial Welsh race and their descendants who peopled this part of Montgomery county." W. W. H. Davis, Historian, in Doylestown Democrat. "We do not hesitate to say that Historical Collections Relating to Gwynedd' is the most interesting township history we have met with. AND JOURNAL. PHILADELPHIA, 921 ARCH STREET, SECOND MONTH 12, 1898. Friends' Intelligencer Association, "For Sale," etc., 5 cents a line, each insertion. REMITTANCES by mail should be in CHECKS, DRAFTS, or POST-OFFICE MONEY ORDERS; the last preferred. Money sent us by mail will be at the risk of WANTOn and to assist in the care of two small the person so sending. Draw checks and money orders to the order of FRiends' Intelligencer AssoCIATION, LIMITED. CONTENTS OF THIS ISSUE. ANTED.-A WOMAN FRIEND, AS COMpanion children. Apply to ANNA T. HOOPES, 341 East Biddle Street, West Chester, Pa. Publisher's Department. WANTED.-A MAN (FRIEND) WISHES THE ing; in fact, to do anything more than what has just mental derangement. First-rate city references. Address 12, this Office. 105 PARTIES DESIRING TO VISIT WASHINGTON can be accommodated with rooms and board in a Friends' family. One block from street cars passing railroad stations, Capitol, and public buildings. Terms, Address FRIEND, 1626 Nineteenth Street, N. W., Washington, D. C. JOHN FABER MILLER, 105 JOHN RUSKIN.-III.: BY JOHN WILLIAM GRAHAM, 106 THE CHARACTER OF JOSEPH BY ELIZABETH H. COale, 108 ISABEL CHAMBERS, Secretary. SWARTHMORE. For rent or sale, Queen Anne Cottage, 12 rooms, steam heat, and open fire grates. The 118 location is very delightful, directly overlooking the athletic grounds of the College, and very close to the meeting-house; one acre of ground, and plenty of fruit. Apply to . 119 I 20 120 DAVID SCANNELL, 814 Arch Street: been stated. *** We have copies of the Review of "Hugh Wynne," and will send, as before, to those desiring them. A stamp may be sent, when convenient. One cent will carry three copies. *** Announcement is made that Walter J. Buzby, for some time with Mitchell, Fletcher & Co,, Philadelphia, and Edward C. Leeds, who has been in the real estate and insurance business in Camden and Woodberry, have purchased "The Chalfonte," Atlantic City, N. J., from David and Joseph Roberts, and will reopen it on the 17th. The Chalfonte has been well known to readers of the INTELLIGencer, while under the charge of its late owners. PUBLIC SALE OF VALUABLE REAL ESTATE. Will be sold on the premises of the late Abel J. Hopkins, in New London Township, Chester County, Pa., situated about three miles from West Grove, and two miles from Kelton, on the P. & B. C. R. R., on Fourth-day, Second Month 16, 1898. (WEDNESDAY, FEBRUARY 16th.) A FARM containing 27 acres, more or less, bounded by lands of Joel Conard and others. A very desirable and productive farm, all under cultivation. About one acre of asparagus, young peach orchard (trees, 1, 2, and 3 years planted), cherry trees and small fruit, large apple orchard of excellent fruit. The improvements consist of a large brick house, roofed with slate and tin, well built and in good repair, containing 13 rooms and excellent cellar with vault; bath-room with modern conveniences and hot and cold water; porches, large lawn, with fine shade trees. This house is very prettily situated, hnd should be seen to be appreciated. Barn with ample shedding, 2-story hog-house, chicken, carriage, and tool house, and corn crib, all in good repair. Ice house and pond, constant flow of spring water at barn. Any one desiring a nice, cheery location for a home will do well to examine this property before purchasing elsewhere, and will be shown over the same by Mary E. Hopkins, resid ing thereon, or, T. C. Moore, West Grove, Pa. Sale to commence at one o'clock, sharp, when conditions will be made known by TRUEMAN C. MOORE, Executor of Abel J. Hopkins, dec'd. George B. Johnson, Attorney. John R. Strode, Auctioneer. Friends' Academy, LOCUST VALLEY, LONG ISLAND. A Boarding and Day School for Boys and Girls, under the care of Friends. Thorough instruction to fit for business or to enter PRINCIPAL FRIENDS' ACADEMY, Chappaqua Mountain Institute, A FRIENDS' BOARDING SCHOOL FOR The building is modern, and the location is the hill country thirty-two miles north of New York City. For Circulars, address CHAPPAQUA MOUNTAIN INSTITUTE, YOUNG FRIENDS' ASSOCIATION ROOMS, 140 N. FIFTEENTH STREET. re-opened NINTH MONTH 27TH, 1897. The rooms are open daily, except First-days, from 8.30 a. m. to 9.30 p. m., and Friends are cordially invited to avail themselves of the facilities afforded, those from without the city and young Friends boarding in the city being particularly desired to do so. The rooms are designed to be A CENTRE FOR INFORMATION ON ALL FRIENDLY Writing Papers, Envelopes of every description New City Hall Pencils, $1.75 a Gross. YEO & LUKENS, 23 North 13th St. 316 Walnut St. P BIOGRAPHICAL SKETCH OF LOUISA J. ROBERTS WILLIAM B. PAXSON. With Extracts from her Journal, and 12mo., cloth, 286 pages, with two portraits. Price, $1.00, postage paid. For Sale by FRIENDS' BOOK ASSOCIATION, S. W. Corner 15th and Race Streets, Philadelphia. JUST PUBLISHED, NEW BOOKLETS. Among the Rushes. Not Changed but Glorified. Peter Noddy. The Seed and the Prayer. My Times Are in Thy Hands. Making ten in the set. Price, 5 cents each; full set 45 cents. FRIENDS' BOOK ASSOCIATION. S. W. Cor. 15th and Race Sts., Philad'a. One of Three Papers. WASHINGTON GLADDEN WRITES: City and State is one of the three papers I read. I never take it up without experiencing a vital thrill; and I never lay it down without feeling that some reinforcement has come to my courage and my moral enthusiasm. You ought to have fifty thousand subscribers in Philadelphia. And if you had, Philadelphia would be a different city very speedily.' City and State represents no party, faction, or clique, and is the organ of no society, league, or committee. It always endeavors, however, to keep itself in kindly touch and in the broadest sympathy with every project and movement of honest men and women looking to the well-being of society. It aims to give the exact truth on all matters relating to the welfare of the city and State, free from bias or improper influence of any kind. Its motto is "Commonwealth above Party." .: STATIONERS. MAHLON B. PAXSON. Members of the Philadelphia Stock Exchange. FREDERICK PAXSON & CO., Stock and Bond Brokers, 112 Custom House Place, Philad’a. Orders and inquiries by mail or wire receive prompt. Established 1844. Established, 1443.} HILADELPHIA, SECOND MONTH 12, 1898. A GOOD WORD EACH WEEK. VII. CARRY our work of peace and arbitration into our every-day life. We need it just as much in the inculcation of proper disposition in business life as we do in the life of the nation. JOHN J. CORNELL. From the report of the Swarthmore Conferences, 1896 ; discussion of Peace and Arbitration. THE ETERNAL GOODNESS. BY JOHN GREENLEAF WHITTIER. O FRIENDS! with whom my feet. have trod Glad witness to your zeal for God I trace your lines of argument ; I weigh as one who dreads dissent, But still my human hands are weak Who fathoms the Eternal Thought? I walk with bare, hushed feet the ground Ye tread with boldness shod; I dare not fix with mete and bound Ye praise his justice; even such Ye seek a king; I fain would touch Ye see the curse which overbroods I hear our Lord's beatitudes More than your school men teach, within Too dark ye cannot paint the sin, Too small the merit show. I bow my forehead to the dust, I veil mine eyes for shame, And urge, in trembling self-distrust, A prayer without a claim. I see the wrong that round me lies, I feel the guilt within; I hear, with groan and travail-cries, The world confess its sin. Yet, in the maddening maze of things, Not mine to look where cherubim Volume LV. {Number 7. The wrong that pains my soul below I know not of His hate,-I know I dimly guess from blessings known And, with the chastened Psalmist, own I long for household voices gone, But God hath led my dear ones on, I know not what the future hath Assured alone that life and death And if my heart and flesh are weak No offering of my own I have, Nor works my faith to prove ; I can but give the gifts He gave, And so beside the Silent Sea No harm from Him can come to me I know not where His islands lift I only know I cannot drift O brothers! if my faith is vain, Pray for me that my feet may gain And Thou, O Lord! by whom are seen Forgive me if too close I lean My human heart on Thee! For Friends' Intelligencer. BY JOHN WILLÍAM GRAHAM. IN approaching the subject of art, which was till midlife the principal line of Ruskin's activity, it is necessary to say that the present writer has no technical knowledge, cannot handle a brush, and treats the subject therefore under serious disqualification. Let himthen confine himself to a few general principles in which the wayfaring man need possibly not err. There are, and always have been, two main cur rents of thought about art; the idea of the one described in the phrase, “Art for art's sake"-of the other in, "Art the expression of life." To the young men of the former school, (and I instinctively call them young men, for that is what the present exponents of the school suffer from being), subject is nothing, spirit, aim and meaning are an intrusion, nothing matters but beauty, mere color and line beauty—a wilting cabbage may afford as good a subject as Elizabeth Fry—it all depends on tone, tint, composition, atmosphere, light, and so forth. Art therefore has no connection with character, either with that of the artist who paints or the nation who buys. This theory, the very opposite of the theory of the Greeks, is also the very opposite of Ruskin's. The great artist nation of history, like our teacher of today, valued art as the harmonious and beautiful expression of mind and feeling, and as a reliable index of national temper. This very matter is the central trunk of Mr. Ruskin's teaching, the truth from which his later work has branched out. In "Modern Painters," and ever since. he has told us how Art must be noble if it be good Art; he has made peace (if you will indulge me in an irrepressible tendency to metaphor) by bidding fair Art to take strong Virtue to be her lord, receiving all her sustenance from, and showing to him only all her perfectness, or (to come down into the language of prose and talk simply) the best men are needed to paint the best pictures, and a good man properly to appreciate one. John Milton has a parallel doctrine about his art. "He who would not be frustrate of his hope to write well hereafter in laudable things, ought himself to be a true poem, that is, a composition of the best and laudablest things." This statement about Ruskin's teaching will be evident if we examine hist definition of greatness in art. It is in the forefront of his teaching, on pp. 7, 8, and 9 of the first volume of Modern Painters," and is well worth quotation for its own sake : Painting, or art generally, as such, with all its technicalities, difficulties, and particular ends is nothing but a noble and expressive language, invaluable as the vehicle of thought, but by itself, nothing. He who has learnt what is commonly considered the whole art of painting, that is the art of representing any natural object faithfully, has as yet only learned the language by which his thoughts are to be expressed. He has done just as much towards being that which we ought to respect as a great painter, as a man who has learnt how to express himself grammatically and melodiously has towards being a great poet. The language is indeed more difficult of acquirement in the one case than in the other, and possesses more power of delighting the sense, while it speaks to the intellect, but it is, nevertheless, nothing more than language, and ail those excellences which are peculiar to the painter as such, are merely what rhythm, melody, precision, and force are in the words of the orator and the poet-necessary to their greatness, but not the tests of their greatness. It is not by the mode of representing and saying, but by what is represented and said, that the respective greatness either of the painter or the writer is to be finally determined. Speaking with strict propriety, therefore, we should call a man a great painter only as he excelled in precision and force in the language of lines, and a great versifier, as he excelled in precision or force in the language of words. A great poet would then be a term strictly and in precisely the same sense applicable to both, if warranted by the character of the images or thoughts which each in their respective languages conveyed. 'Take, for instance, one of the most perfect poems or pic tures (I use the words as synonymous) which modern times have seen: The Old Shepherd's Chief Mourner. Here the exquisite execution of the glossy and crisp hair of the dog, the bright sharp touching of the green bough beside it, the clear painting of the wood of the coffin, and the folds of the blanket, are language, language clear and expressive in the highest degree. But the close pressure of the dog's breast against the wood, the convulsive clinging of the paws, which have dragged the blanket off the trestle, the total powerlessness of the head, laid close and motionless, upon its folds, the fixed and tearful fall of the eye in its utter hopelessness, the rigidity of repose which marks that there has been no motion nor change in the trance of agony since the last blow was struck on the coffin lid, the quietness and gloom of the chamber, the spectacles marking the place where the Bible was last closed, indicating how lonely has been the life, how unwatched has been the departure of him who is now laid solitary in his sleep-these are all thoughts-thoughts by which the picture is separated at once from hundreds of equal merit so far as mere painting goes, by which it ranks as a work of high art, and stamps its author, not as the neat imitator of the texture of a skin, or the fold of a drapery, but as the man of mind. Most pictures of the Dutch School, for instance, excepting always those of Rubens, Vandyke, and Rembrandt, are ostentatious exhibitions of the artist's power of speech, the clear and vigorous elocution of useless and senseless words, while the early efforts of Cinabue and Giotto are the burning messages of prophecy, delivered by the stammering lips of infants. The picture which has the nobler and more numerous ideas, however awkwardly expressed, is a greater and a better picture than that which has the less noble and less numerous ideas, however beautlfully expressed." I need not say that this standard for art criticism is not the one in favor now, even when not expressed in the above absolute, uncompromising way. Mr. Whistler's young lions in the "Speaker" and in the "Spectator" would never be able to write another word from sheer gorge-filling contempt, were they present to hear the above extract. For a quiet humble citizen like myself, it is better to keep one's own counsel, and go on admiring the pictures one likes. Perhaps the habit of employing as art critics painters with time on their hands—“ painters who have failed" is the unkind way of putting it may have caused the present fashion of glorifying exclusively the technical qualities of a canvas and despising "subject." But it being now clear that I am an old fogey on art criticism, we will pass on to note the important connection between Mr. Ruskin's ideas about pictures and his later work in the region of economics and ethics and education. For his view of art, as being chiefly the expression of ideas, led him into dealing with those ideas, and so his subject expanded from art till it embraced the whole of the life, duty, and character of the man, and from the man concerned itself with the state which moulds him. (We say his theory led him on this path, but it is more likely that his genius produced this theory, and he followed both.) Ruskin has never swerved from the theory thus laid down. In the fifth volume of "Modern Painters,' he says, "In these books of mine, their distinctive character as essays on art, is their bringing everything to a root in human passion or in human hope." And he repeats in the Epilogue to "Modern Painters " written for the 1888 edition, the dictum of his Oxford Lectures, that, "all great art is praise." |