And lov’st thou me with love’s true passion, Thy steps unto my spirit trace, Bring joy with thee; in love’s true fashion, Make sweet to me my resting place. [Illustration] [Illustration] NEW BOTTLES FOR NEW WINE THE WORK OF ABASTENIA ST. LEGER EBERLE CHRISTINA MERRIMAN The recent International Exhibition of Art in New York was, from one angle, at least, a protest against certain set standards of art generally accepted today as inevitably right because they have “always been.” Some of the by-products of that stimulating movement toward freedom have been variously characterized as “courageous” “self-expressive” and “insolent.” Certainly much of it was a serious effort toward individual expression—a revolt against academic rules—partaking in some instances of a defiance which was a law unto itself, a frank disregard of what impression the mystified public carried away. Such, however, was not the attitude or feeling of at least one exhibitor whose work aroused much interest and comment, and who was one of the first artists of standing to reflect in her work the spirit of awakened social consciousness so apparent today. Abastenia St. Leger Eberle showed two groups, the more striking of which was The White Slave, reproduced on the cover of this issue of THE SURVEY. They are the work of a sculptor who has strongly defined views as to the part the artist should play in the common life. “The artist should be _the_ ‘socialist,’” says Miss Eberle. “He has no right to work as an individualist without responsibility to others. He is the specialized eye of society, just as the artisan is the hand, and the thinker the brain. More than almost any other one sort of work is art dependent on society for inspiration, material, life itself; and in that same measure does it owe society a debt. The artist must see for the people—reveal them to themselves and to each other.” This is a far cry from “art for art’s sake.” That it is the viewpoint of an artist of high standing is attested by the early and generous recognition accorded Miss Eberle’s work from conservative and radical alike.