« AnteriorContinuar »
formed in those two days, the pleasantest of the ment for the time. After going all over the trip.
Constitution, that historic old frigate, and after At Yarmouth a few were fortunate enough playing a short and interesting ball game with to be entertained at private houses, as the marines, we returned to Portsmouth to be Auburn, but most of the club was put up at the again entertained with skirt and serpentine hotel — a country hotel with almost as many dances on the wharf. conveniences and almost as comfortable as an The concert was given in Music Hall and old-fashioned schoolhouse. An informal dance was attended by the best people of the city. again followed the concert, which was given to The Warwick Club extended its hospitality to a full and appreciative house. Thursday was us after the concert, and a number of us took spent on the road from Yarmouth to West- advantage of it to enjoy a very pleasant evening. brook, where we arrived, pretty well tired out, Saturday found us returning to the Hill, tired, in time for dinner. Sleeping, ball playing, and but full of gratitude to our Maine friends for going over the immense paper-mills of the town the very cordial reception we were tendered by were all indulged in during the afternoon, and them, especially at Auburn. evening found us again ready for a concert.
J. H. SAUNDERS. The hall was very prettily decorated with brown and blue and was crowded; not an aisle To the Tuftonian :could be seen, the outer hall was black with Permit me to express my pride in dear old people, and heads were peering around posts and Tufts and to congratulate her on sending out corners to get a view of us. Twenty-nine such a Glee and Mandolin Club as came to us numbers were rendered to a programme of this week. A nobler set of students. never thirteen. A short reception followed the con- visited Auburn. On every occasion when they cert, during which refreshments were served appeared in public they conducted themselves and dancing indulged in.
and acquited themselves like sons to the manor At ten o'clock Friday we left the White born.” Gallantry, dignity, courtesy, thoughtfulHouse a hotel of the type at Yarmouth ness, and geniality marked their stay here. My where we had been staying, and proceeded to people who entertained them were delighted, and Portland. After our first square meal since the large audience that greeted them was unstinted leaving Auburn, enjoyed at the Preble House, in its praise of their singing and playing. No we took the train for Portsmouth and arrived such concert has been given in Auburn for many there at half past two.
Mr. Dickins, '94, met a year. Tufts College stands in higher esteem us at the station and suggested a trip to the in this city to-day, and I rejoice. One way to Kittery Navy Yard — a suggestion which was
a suggestion which was strengthen our alma mater is to send out men quickly acted upon. Skirt dancing on the who will do her credit in character, conduct, wharf at Portsmouth, where we took the ferry, and ability.
Fraternally yours, and a little trouble with an officious sergeant at
Henry R. Rose. the main gate of the Navy Yard afforded amuse- Auburn, Maine.
The “Brown and Blue.” The editors of the '96 “ Brown and Blue” as could be ascertained in the time allotted to desire to announce that the book will be issued the work. and placed on sale about May 1. Considera- It has also been the aim of the editors to ble effort has been made on the part of the combine with the above departments such humor board to make it as representative of Tufts as and local hits as would be generally underpossible, and to incorporate in it such facts and stood and appreciated by the students and those statements as would prove interesting to gradu- familiar with the course of events at Tufts ates and friends of the college. Among these during the past few years. is a carefully compiled and corrected list of The book has been in many ways an expenalumni, giving addresses and occupations so far sive one, and the managers must make a large sale to meet expenses. They depend almost additional charge of ten cents for books sent entirely upon the alumni and undergraduates for through the mail. the sale of the book, and respectfully request
O. H. SMITH,
Business Manager. to be favored with a large number of orders at
W. H. BELCHER, an early date.
Asst. Business Manager. The price will be $1.50 per copy, with an
loooww O ON?
BOSTON UNIVERSITY, 10. The first game of the season was played on Two-base-hits : Corridan, 3; Johnston ; Holbrook, 2; the campus, Saturday, April 13, with Boston
Woodard ; Williams.
Three-base-hits : Smith; Walkley. University, and although the playing was some- Stolen bases : Tufts, 8; Boston University, 2. what loose, the work was on the whole very
Base on balls : By Johnston, 2; by Walkley, 5.
Hit by pitched ball : Johnston, Woodard. encouraging.
Struck out : By Johnston, 5; by Walkley, 7.
Passed balls : Gove, 3.
Time of game : 2 hours, 15 minutes.
Umpire, C. D. CLARK. Corridan, s.
The manager begs to submit the following Foss, c. •
7 3 9 Johnston, p.
schedule, and wishes to call the attention of the Maguire, 1.
undergraduates to the games to be played on the Smith, l.
Hill. In order to have these games as arranged, Pierce, 2.
3 3 Richardson, 3.
the hearty co-operation of all is necessary. 3
3 Holbrook, m.
April 20. Harvard, at Cambridge. Clark, r.
Lowell, at Lowell. Williams, r. 3
24. Exeter, at Exeter.
27. Wesleyan, at Middletown. 50 19 27 17
30. Bowdoin, at Tufts. BOSTON UNIVERSITY.
May 3. Massachusetts Agricultural College, at Amherst.
4. Amherst, at Amherst. Gove, c. 6
8. Open. Woodard, s. 4
Worcester Polytechnic Institute, at Tufts. Greenlaw, l. 5
15. Andover, at Andover. Thomas, 1. 5
18. Boston University, at Tufts. Maloney, 2.
Dartmouth, at Hanover.
25. Open. Walkley, P. 5
27. Boston College, at Tufts.
29. Bowdoin, at Brunswick.
30. Bates, at Lewiston.
June 1. Worcester Polytechnic Institute, at Worcester. 44 27 19
5. Exeter, at Tufts. Earned runs : Tufts, 7.
8. Massachusetts Agricultural College, at Tufts. Runs : Corridan, 4; Foss, 1; Johnston, 3; Maguire, 3;
13. Holy Cross, at Tufts. Smith, 2; Pierce, 1 ; Richardson, 2; Holbrook, 3 ; Clark, 1;
15. Holy Cross, at Worcester. Woodard, 3 ; Greenlaw, 2; Thomas, 3 ; Maloney, 2.
S. Djelalian, of Turkey. 25. Divinity School Reception in Miner Hall. 26. Y. P. C. U. in Miner Hall.
cultural College, at Amherst. 3. Y. P. C. U. in Miner Hall. 4. Baseball, Tufts vs. Amherst, at Amherst.
The TUFTONIAN is published on the 5th and 20th
The TUFTONIAN will be sent to all subscribers until its discontinuance is ordered and arrears are paid.
BOARD OF EDITORS.
Local Editors. R. B. SANFORD, '97, 0. H. SMITH, '96,
Alumni Editor. J. D. TILLINGHAST, '95, Divinity School Editor. O. F. LEWIS, '96,
Business Manager. W. S. Parks, '97,
Subscription Agent. M. C. WARD, '96,
177 178 179 180 181
Entered at Tufts College Post Office as second-class matter.
May 6, 1895.
Editorials. ABOUT a year ago an editorial in the Tuftonian expressed the extreme
disgust of Tufts men at the treatment accorded our baseball team by students at two of the Maine colleges. While the team from Bowdoin which played on our grounds last week certainly has no cause to complain of its reception here, yet childish actions on the part of certain of the spectators were not pleasing to the majority of our own students, and certainly did not add to the impression given the Maine men. We have frequently in these columns called for more college spirit, and because we want this we like to hear plenty of cheering at the baseball games; but those persons who imagine that there is any spirit worthy of college men or of gentlemen in hooting at the errors of an opponent or the decisions of an umpire have not yet learned what good breeding is and ought to be taught, even if the columns of the TUFTONIAN have to be used for that purpose. The spirit of a sport of any sort is healthy only so long as men enter into contests with a willingness to concede the good points of their opponents and to give them the credit which they deserve, entertaining throughout the best of feeling toward those with whom they contest. We have no fault to find with our ball team on this score. That the unnecessary comments by certain persons on the grand stand last Tuesday was as offensive to the players as to the majority of the students was evident from the request made by Captain Maguire during the game. If the team can enter into a contest with the true spirit of sport, there is no reason why the spectators should not be content to view the game in the same spirit. As we have already said, the majority of the students comport themselves in a highly creditable way. It is to be regretted that the few who fail to do so do not see the importance of gentlemanly actions toward players from other colleges.
The tickets for “ Roister Doister,” which will be offered the public next week, ought to meet with a ready sale among the students on the Hill. The production which Professor Maulsby is
preparing will show the result of careful work on his part and by the students in the cast ; and encouragement of their efforts is due the English Department, which is endeavoring to give Tufts a place among the colleges that are reviving and reproducing some of the older comedies. The intention of Professor Maulsby to give “Roister Doister” has already been noted in college journals in all parts of the country and in many of the daily papers. In every case come words of encouragement and appreciation of the effort of Tufts to be up with the times, so that whatever the outcome may be, the college cannot fail to gain considerable notoriety in the world of literature. A note of encouragement from Eton, where the comedy was first played, has recently been received by Professor Maulsby, together with photographs of the hall in which it was presented, and hints regarding the costumes of the players. When such interest in the coming production is manifested on both sides of the water, it is unnecessary to say that the attendance will in all probability be a large one and that many critics of excellent judgment will be among the spectators. This fact ought to be borne in mind not alone by the players who have it in their power to establish a reputation for the college, but by all who desire to obtain good seats, or indeed any seats at all, for the capacity of the gymnasium is limited and will without doubt prove insufficient to accommodate all who wish to witness the performance.
We had expected to devote considerable space to a review of the much-heralded “ Brown and Blue” of the Junior class, but we really find it so entirely free from any especially remarkable features that distinguish it from the common run of annuals, that it is quite unnecessary to call any particular attention to the book. Some innovations — and commendable ones, too are noticed, such as the publication of society group pictures and the presentation of individual portraits of the members of the Junior class. Such another innovation in a Tufts annual as the publication of a directory of the alumni would certainly have been worthy of praise had not this feature been introduced by an attempt at wit which was quite out of place and marred by numerous inaccuracies which make the list far from reliable. Many of these errors are in the data, while others show evidence of being printer's blunders — a kind of mistake, by the way, which is of sufficiently frequent occurrence in the book to spoil it as a specimen of fine typographical work. There are some touches of humor among the grinds, although the funniest part of the publication — that is, funny to all but Juniors — is the announcement by the publishing class concerning itself that it has “done nothing” and needs to “take a brace.” But then, despite its faults, the annual is worth purchasing, if for nothing else than for the record of events of the college year and for the sketches of Professors Kingsley and Curtis. It must be admitted, however, that the principal claim for praise which the ninety-six “ Brown and Blue” has, is that it appeared on time. This is certainly a virtue among College Hill publications.
The Art of It is probable that the arts of painting and sculpture are as old
as civilization. While it is known that the Chinese, Hindoos, Ancient Egypt.
Persians, Phænicians, and Assyrians early attained considerable
skill in painting, it is with the Egyptians that we find the first authentic records of artistic progress in the East. Egyptian art, like that of all other civilized nations, readily separates itself into two natural divisions, - one embracing the so-called fine arts and the other the domestic and industrial arts. While in the course of natural developments the useful precedes the ornamental, investigation into the art of ancient Egypt best begins with the latter, because it is through the paintings and sculptures of this people that we learn most that we know of their skill in mechanic art and their manners and customs.
To rightly understand and value the works of the Egyptian artist, it is necessary that we appreciate the limitations under which he was forced to work. In the first place, the material which was at hand was of a sort calculated to discourage an artist of less patience and perseverance. The only stone accessible was a hard granite which, even with the best of implements and the greatest skill, could be worked only with difficulty. It is little wonder then that the lines are sharp, the features rigid, and the limbs cramped. But more detrimental than this were the legal restraints, which fettered the skill and dulled the imagination. Herodotus tells us that only the
educated were allowed to practise this profession lest the common or illiterate person should attempt anything contrary to the laws established regarding the figures of deities.
Painters and sculptors alike were forbidden by a rigid code of laws from introducing any innovations into their art, and as a natural result we find a perpetual recurrence of similar types of form through thousands of years and an absence of any progressive development such as we expect and find in the productions of a people whose natural bent is allowed full freedom. The method was, however, not without its advantages, as it was doubtless owing to this dependence upon established rules that the artists were enabled to impart to their work that character of stability and unity and that massive grandeur which have played an important part in the subsequent history of architecture. In the case of elaborate representations of battles, processions, and religious ceremonies, where greater liberty seems to have been allowed the artist, there are evidences of inventive power and appreciation of beauty which, but for the restraint imposed by law, might have borne more worthy fruit.
The history of painting in Egypt can be traced back to a very remote period. As nearly as can be ascertained, the first employment of the painter was to color statues and bas-reliefs. Following this came, with gradual development, the execution of those elaborate works which now afford such vivid illustrations of the manners and customs of this ancient people. Egyptian paintings are comprised in four groups, — those on the tombs and temples ; those on the cases and cloths of mummies; those on the vases; and those on papyrus rolls. Of these works, the first class are the most numerous, and some of them would do credit to a modern artist. The great majority of them are symbolical writings or picture-stories recording the most important events of social, political, and religious life. The early painters seem to have been somewhat acquainted with the art of compounding colors, but little use was made of this knowledge in ordinary practice. Imitation of nature was never carried beyond an outlined diagram colored in the most arbitrary manner, lacking any appreciation of ideal beauty. Men and women were usually colored red, animals brown, birds yellow or blue, and other objects in the same way, apparently according to some fixed rule, regardless of their natural appearance. After any object had been colored, a varnish of glue and resin was often applied, and to this fact and the fact that the atmosphere of Egypt is remarkably clear and dry is doubtless due the freshness which many still retain.
The art of sculpture was practised in conjunction with that of painting. Two things contributed to give it a stimulus : first, a desire to make permanent record of important events, and second, the impulse of religious worship. The Egyptians perhaps more than any other nation of antiquity associated art with their religion, and most of their statues are representations of deities or their attributes. The standard types of form are of course simple and for the most part devoid of expression. Little attention was paid to anatomy in representations of the human form, and consequently the sculpture lacks all semblance to grace, symmetry, or elegance. The figures are sculptured in various postures, some standing, some seated, and others kneeling. The standing figures are usually poised equally on both feet, one leg being sometimes slightly advanced. The arms are either suspended straight at the side or raised at right angles across the body, while the head always looks straight to the front. One noticeable peculiarity, common to all Egyptian statues, is the position of the ear, which, besides being too large in proportion, is always placed too high. We might infer from this that there was some national peculiarity in regard to this feature if we did not know the conditions under which the sculptor labored.
The draperies with which the statues are usually covered are of the simplest character, frequently falling straight down to the ground without folds. As mentioned above, the features are usually expressionless, and the countenance of the king presents the same impassibility whether he be engaged in fierce combat or offering incense at the altar of the gods. Occasionally, however, there is an exception to this, such for instance as the bust of Memnon discovered by Belzoni. This bust consists of one piece of stone of two colors, of which the sculptor has judiciously applied the red part to form the face. Though there is a style of sculpture which is properly called Egyptian in distinction from and inferior to the Greek, and although this statue belongs clearly to that style, it surpasses as a work of art most other statues of that country by a peculiar sweetness of expression and a fine outline of face. Though the eyebrows are hardly