THE CENTURION

HE utility of a slogan is generally recognized. The Centurion has been greatly impressed of late by the various magazine slogans, such as "The Most Gorgeous Magazine in America," "The Most Fascinating Periodical South of the North Pole," "The Most Thrilling Monthly in the Universe," "The Most Entertaining Magazine in any Language," and "The Publication of Greatest Achievement in Modern Times."

The Centurion has invented a slogan for this magazine, and submits it for comparison with the above. It is as follows:

"THE CENTURY."

Since the early days, when a promising young architect named Stanford White designed the palette-book-flame trade-mark of The Century Co., THE CENTURY MAGAZINE has been in intimate touch with American art. Many of the leading painters, architects, and sculptors of America received their first public encouragement from THE CENTURY.

Besides continuing to express the best of all that is conservative in art, as exampled by its exclusive use of the work of the master woodengraver Timothy Cole, the magazine is willing at all times to experiment with new and beautiful processes of reproduction.

Within the last few years no magazine, except those wholly devoted to art, has attempted to present more than one phase of Modern Art.

The average man feels wholly at sea in trying to understand the incomprehensible schools that have sprung up within the last few years -the Cubists, Post-Impressionists, the Futurists, with their confusing nomenclatures. The series of articles that THE CENTURY MAGAZINE has prepared for the April issue, entitled the "Modern Art Number," is an attempt to interpret these new movements, not in the artistic vernacular, but in language that the layman can grasp, and to range the most radical work beside that of the more classical schools.

Edwin Howland Blashfield, who greatly admires the work of many of the younger American painters, and who believes that postimpressionism is merely a passing phase, will describe "Traditional Art."

John W. Alexander, President of the National Academy of Design, will write from the conservative point of view on the painting of to-day.

Another contributor is the painter Ernest Blumenschein, who is convinced that the socalled post-impressionist movement will disappear, but that its effects will be enduring in the history of art.

Walter Pach, an artist thoroughly in sympathy with the most advanced work, will write on the significance and beauty that lie at the base of all that is newest and strangest in art.

There will be thirty-two pages of reproductions of modern paintings, most of them the work of American artists, including two pages in full colors.

If the April CENTURY were not called a Modern Art Number, it might almost be designated as a Fiction Number. The leading story of the seven printed in this number will be "The Dog Harvey," by Rudyard Kipling. You will remember that one of the most delicate and memorable stories of the great teller of tales-"The Brushwood Boy"-was published in THE CENTURY MAGAZINE. "The Dog Harvey," although in no sense a continuation of that classic story, is a work of great subtlety, and again reveals the author as an unrivaled master of his craft.

"The Rise of Menai Tarbell," by Thomas W. Wilby, is a thoroughly amusing story, and incidentally a delightful satire on the Cubists. It describes the foundation of a cult called "The Loonists."

"Egg-shell China," by Kate Jordan, is a love-story with a novel plot.

A character study with a delicate French flavor is by Amelia J. Burr, author of "Pe rugia." Katharine Fullerton Gerould contributes a story that no man could have written, called "The Triple Mirror." In "Gideon," the author, Wells Hastings, describes how a Florida negro developed into a successful vaudeville actor and the complications that ensued.

"The Shark" is a vivid story of adventure by Eugene P. Lyle, Jr.

"The Winged Armageddon," by Harold Kellock, tells of a fight that is being made against the brown-tailed moth, and other ene