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Aristocratic Anecdotes (STEPHEN LEACOCK. Pictures by REGINALD BIRCH) -Audi Alteram Partem (THEODOSIA GARRISON. Designs by EUGENE SANFORD UPTON)-One of Our More Provincial Cities (ERNEST HARVIER)— British Weekliness (THE SENIOR WRANGLER)—To Dolores (LEWIS HOLMES TOOKER. Drawing by J. C. COLL)-The_Sermon (LAURA E. RICHARDS. Pictures by HARRY RALEIGH)—An Indian Mutiny. (Drawing by J. R. SHAVER) -Lost and Found (LAWTON MACKALL)-A Menu (R. C. MC ELRAVY)— Forecast of Spring Fashions. (Four drawings by REGINALD BIRCH) Cover Design.

.GEORGE INNESS, JR.

In the United States and Canada the price of THE CENTURY MAGAZINE is $4.00 a year in advance, or 35 cents a single copy; the subscription price elsewhere throughout the world is $5.00 (the regular price of $4.00 plus the foreign postage, $1.00). Foreign subscriptions will be received in English money at one pound, in French money 25 francs, in German money 20 marks, covering postage. We request that remittances be by money order, bank check, draft, or registered letter. All subscriptions will be filled from the New York office. The Century Co. reserves the right to suspend any subscription taken contrary to its selling terms, and to refund the unexpired credit.

All subscriptions for and all business matters in connection with THE CENTURY should be addressed to

THE CENTURY CO., Union Square, New York, N. Y.

WILLIAM W. ELLSWORTH
IRA H. BRAINERD
GEORGE INNESS, JR.

Board of Trustees

WILLIAM W. ELLSWORTH, President
IRA H. BRAINERD, Vice-President
DOUGLAS Z. DOTY, Secretary
RODMAN GILDER, Treasurer

GEORGE L. WHEELOCK, Ass't Treasurer

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."

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.

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."

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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 "Perugia.' 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 (Continued on page 6.)

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mies of the farmer. This is one of those subjects seldom treated outside of the specialized magazines. It is handled here by a skilful writer in much the same way that a war-correspondent of many years' experience would describe the adventures and triumphs of an important campaign.

Among the poems published in the April number will be "Chinoise," by Cale Young Rice, "The Menace," by George Sterling, and the "Temple of Sunium," by James S. Martin. The opening lines of "The Menace"

are:

"Said the sea: 'The mountains stand Far and mighty. Rise, O wind! On their summits you shall find

Chords to master, harps to cry mine ancient message to the land.'

"Woke the sea-wind swift and strong, Lifting pinions broad and sure Where untrodden sands lay pure, Hurling eastward in his passion with the undelivered song.

"Then upon the scornful height Rose his bidden voice divine From the organ-breasted pine, Singing of his master's empire and his slow and patient might."

Edwin Björkman makes an appeal to the President of the United States "In Behalf of American Literature," and strongly recommends that the United States encourage literature at least as much as some of the smaller nations.

The April chapter of Professor Edward A. Ross's important series on Immigration is entitled "The Immigrant in America: The Celtic Irish," from which are taken the following paragraphs:

"It is certain that no immigrant is more loyal to wife and child than the Irishman. Out of nearly ten thousand charity cases in which a wife was the head of the family, the greatest frequency of widowhood and the least frequency of desertion or separation is among the Irish. In only eighteen per cent. of the Irish cases is the husband missing; whereas among the Hebrews, Slovaks, Lithuanians, and Magyars he is missing in from forty to fifty per cent. of the cases. But the sons of Irish, with that ready adaptation to surroundings characteristic of the Celt, desert their

wives with just about the same frequency as men of pure American stock; namely, thirtysix per cent., or twice that of their fathers."

"With his Celtic imagination as a magic glass, the Irishman sees into the human heart and learns how to touch its strings. No one can wheedle like an Irish beggar or 'blarney' like an Irish ward boss. Not only do the Irish furnish stirring orators, persuasive stumpspeakers, moving pleaders, and delightful after-dinner speech-makers, but they give us good salesmen and successful traveling-men. Then, too, they know how to manage people. The Irish contractor is a great figure in construction work. The Irish mine 'boss' or section foreman has the knack of getting along with his men. The Irish politician is an adept in 'lining-up' voters of other nationalities. More Germans than Irish enlisted in the Union armies, but more of the Irish rose to be officers."

The Editor, looking unusually contented, has just called at the desk of the Centurion and left a letter from another editor who has evidently caught the "New Spirit of THE CENTURY." The writer says: "Of the many publications coming to the Editor's table, THE CENTURY stands in the front rank not only on account of its high standing, but the absorbing interest of the articles it contains which demonstrates the exceptional care exercised by its editorial department."

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In a magazine containing as many pages as THE CENTURY, it is possible to gather many pages of fiction and to discuss adequately a large subject like "Modern Art," and still have room for other contributions. The April CENTURY Contains, besides the extraordinary features mentioned above, "Shadow Pantomimes" by Professor Brander Matthews, who, while an authority on the drama, has made a special study of this highly specialized dramatic form.

"England" is the title of an article by James Davenport Whelpley, author of "The Trade of the World," appearing in this number.

The comic section of THE CENTURY, "In Lighter Vein," will continue to occupy a generous number of pages, and will contain text and illustrations in their way as high in quality as the rest of the magazine.

THE CENTURION.

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THE TRAVELERS INSURANCE CO., Hartford, Conn.

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