“Technique is merely a language, and as I grow older and see more and more clearly I have but one intention and that is to make this language as clear and simple and sincere as is humanly possible.... It is a language of no value for its own sake.... It must be so translucent that it can be forgotten, the value of the subject shining through it.” A woman who sat for Henri last year for her portrait has this to say of him in a recent letter: “To me he is quite the most wonderful man among American artists; so very big yet simple as a child; so very human yet utterly unconscious of his humanity. He is much like Whitman only more tender, more subtle. To Henri life is his art. That’s what makes him truly great. That’s what made him go to the Ferrer School and awaken talent and even genius where no one else would have seen anything to awaken. As a teacher Henri is perhaps even greater than as a painter. I heard him explain things to his class only twice, but I have never heard anything more fascinating and vivid. His greatest worth, however, is his sense of freedom, his fervent belief that only freedom can bring out the best in the individual. He is really an anarchist though he does not label himself one.” And thus the exhibit of twenty-five paintings at the Art Institute takes on a broader and more beautiful air. It becomes human and alive even though the noise from the studios is confusing. * * * * * Paul Manship also has a room at the Art Institute: Greek, Assyrian, Japanese, Chinese, Egyptian, Italian, Roman, Gothic, and what not; but where, oh where, is Paul Manship—“foremost American sculptor”? The incongruous and nerve-racking thing about the collection is that besides merely exactly reproducing all the above mentioned periods and styles he goes so far as to use two or three in one piece of work. The _Infant Herakles: fountain and bowl_ is a terror of complications, with gothic gargoyles as the high points of one’s discontent. The American Indian (with the African animal skin and the Egyptian hair and Roman face) and pronghorn antelope (Egyptian bronze of Alpine antelope) is the property of the Art Institute, having been purchased by the “friends of American Art”.... The conventionalized Roman busts with the Greek lettering were so top-heavy in appearance that I grew quite dizzy.... I found relief in the sculptor of the Ancient Greeks,—peace in the simplicity of a strange inspired beauty that intricate handling which draws on past glories can never produce. C. A. Z. Fairy-Tale Mysticism _Jerusalem, a Novel by Selma Lagerlöf_ (_Doubleday, Page & Co., New York_).