this year, April 21. As, v VOL. XLIV—NO. 20 ARDMORE and BRYN MAWR, PA., WEDNESDAY, APRIL 26, 1961 @) Trustees of Bryn Mawr College, 1961 PRICE 20 CENTS Lecturer Views Cubist Paris School In Terms of Historical Development Mr. Douglas Cooper informed the audience who assembled to hear the third of the 1961 Flexner Lecture Series, April 20, that the discussion of “The ‘Paris School” would have the form and the pur- pose of a history lesson. The lesson began with the date 1910 which saw the formation of the Cubist School in Paris. An ex- hibition at the Salon d’Automne brought together many of the art- ists working in France and sur- prised the public and critics with _their similarity of technique and approach. At this exhibition the - cubists” overshadowed the neo-impression- ists, the fauvists, the colorists, In- deed, certain painters from all these groups had “adopted the cu- bist idiom.” The common denom- inator uniting them was an inter- pretation of Cezanne. Le Fauconnier Mr, Cooper spoke in detail of several members of the school. The first he mentioned was Le Faucon- nier who, he claimed, attempted to disguise his conventional subjects by superimposing cubes over the basic designs of his canvases. He cited “Abundance,” a painting ex- hibited in 1911 at the Salle d’Inde- pendents as an example. ‘Gleizes did not abandon his nat- uralistic conception of order. His allegiance to the school lay in his ‘elementary use of faceting. Both ‘Gleizes and Le Fauconnier applied in stylized form the tech- niques of (Cezanne and Picasso, said Mr. Cooper. (But ‘they were less successful than the next group: Metzinger, Delauney, and Leger. Metzinger, “the least original of the three,” reflected the cubist in- fluence in his faceting. Leger, more. independent. .than Metzinger, was influenced by “Ce- zanne, Picasso, Braque, and Rous- seau. He, too, faceted the forms in his paintings in each of which there-is but a single source of light. Orchestra Recital Finishes Season by Kristine Gilmartin A Handel Concerto Grosso, Op. 6, No. 4, was the Bryn Mawr-Haver- ford College Orchestra’s opening selection in their final concert for The group ‘was well conducted as usual by William Reese. The first move- ment, Larghetto affettuoso, reveal- ed a rich tone and a massed . strength that played together well. The two Allegro movements also went well, though the orchestra’s one real problem, keeping together in slower sections, was somewhat evident in the Largo. The solo work in this Handel work was done by Barbara Dancis and Kenneth MacLeod, violins, and Steven Flan- ders, violincello.....All. three...were fine and their occasional passages | u --as- a trio were excellent... ......} A March and Canzona written for Queen Mary Il by Henry Pur-|¢ cell were next performed by the Haverford Brass Ensemble. The first was solemn and stately and the slow tones were generally very good though the timing was a bit ragged at times; The Canzona was somewhat lighter in texture ibut the heavy quality of the brass He concentrated on form, volume, and draftsmanship. ‘Leger’s con- cern’ lay with the tangible aspects of reality, with the representation of natural objects through formal oppositions and directions. Delauney saw the work of Pi- casso and Braque at the Kahnweil- er Gallery in 1910. But he was in- fluenced jprimarily by (Cezanne. Like Leger, he used pure color to reinforce contrast and form, as op- posed to the muted tones of: Bra- que and Picasso, who were con- cerned: with form more than with color. ‘He used broken outlines, relied on the interplay of colors, and observed the traditional us- age of space. Before he became a cubist, Delauney had been a neo- impressionist. He believed that color is the painter’s most expres- sive force. Mr. Cooper illustrated,swith sev- eral slides of paintings Delauney had done of the Eiffel Tower, the painter’s desire to destroy mater- ial reality. In these paintings the shattering of the Eiffel Tower into fragments of color and light is symbolic of a desire to destroy the past and its tradition. "Literature The cubist influence spread to literature, said Mr. Cooper. Guil- laume Avpollinaire was especially active in his relationships with the painters and in his attempt to in- corporate their mood into his poet- ry. At this time writers were ded- icating their books to painters who, in turn, would illustrate these volumes. To show the connection between these art forms, Mr. Cooper read two poems, “Easter in New York” Continued on Page 3, Col..1 Address by Miss McBride, Spring Day Delight Visitors PARENTS’ DAY The flags and daffodils waved as the parents came, and came, and came. Where did they go when they had come? Everywhere. What did they do? Everything, or so it seemed to them as they struggled, somewhat dazed, through a rigor- ous schedule enveloped in rigorous crowds. The Chinese weeping willows (as they are known to BMC horticul- turists) were lovely, but there were places to go and people to meet. The violets and the ivy—yes, but there was music and swimming. The grass and .the green light through the library windows— but the schedule, the schedule. Milling through the myriad groups, foreigners’ found their weary way to coffee, violins, and Liberal Education. They paused for chicken salad and the chatter and the clatter of the dining room. Afterwards they heard some sing- ing and much about the Dynamics of Learning, They paused again for tea and introductions. Wandering, meandering, color- ful groups filled even the most un- expected places. You see, people do lean against the sarcophagus. It is good for something after all! With spectacles and cameras and little sisters, they peered into every corner. Inspecting and question- ing they sought—for what? Dust in a daughter’s room (but it had just had its annual cleaning), win- ter clothes to take home in the place of spring clothes, fresh air in the country, or was it more? But then they went away, and the flag and the daffodils waved, and waved, and waved. “ Latinist Claims Both River arid Hill Led to ‘Double Discovery’’ of Rome The city of Rome was founded once from the Tiber River and once from the Alban Hills, explained Louise Holland who gave the Lily Ross Taylor lecture on “The Dou- ble Discovery of Rome” Monday evening in the Ely Room. The two settlements—one of traders and one of shepherd-farmers—co-exist- ed and eventually became one. Geography suggests the division of the city into parts along the line of what was onee.a brook running through the Forum, better known later as the Cloaca Maxima or “the great sewer.” In primitive times no roads led to (Rome—no one wanted to go there—and if one did want to go there, tracks along the ridges between the many steep streams were used or even the Ti- ber itself though Aeneas needed a miracle to go upstream on it. How- ever, floating downstream was easy though stopping places were a necessity. Three elements made a good stopover for river travelers: a trib- for landing, a hill for a land- k_visible from faraway _.(over- | shooting is irremediable), and a grove. These groves were pro- tected by religion and eased an- cient trading and communications. At the Capitoline Hill in Rome was such a haven. ‘Rome was also founded from the hills. The men of the Alban Mount looke™ down at the easier life of the valley and often moved Continued on Page 6, Col. 2— down, ‘This makes probable the ~ old tradition that Rome was a col- Lony of Alba Longa. Fidenae, a town upstream from Rome, was a trading stopover and with Veii was able to dominate the Sabine commerce downstream and demand toll. When the Sa- bines--beeamé..infuriated at this, they devised a detour overland via the hill roads (where the men of Fidenae could not see them) and went on to stop at Rome. Here Continued on Page 5, Col. 5 Program Includes Spirituals, Medley * The Maids and Porters of Bryn Mawr College will present a choral concert on (May 6, at 8:30 in Good- hart. The concert will be the first public appearance by the Maids and Porters this season. The program will include “None but the Lonely Heart” by Tchai- kovsky, “King Jesus is A-Listen- in’,” “When the Saints Go March- ing In,” “Soon Ah Will Be Done,” “There is a “Balm “in Gilead,” ay" My Fair Lady medley and many others. group of solos including “Water Boy.” The concert will be directed by Shirley Daniel and accompanied by Judy Lewis. Publicity was in the ands of Lynda Gaynor and Carol Swift. The director promises a lively and enjoyable program. oo Ta Al (Mackey will sing a}. In response to the request of many who were in the audience and in or- der to bring to the attention of our readers a definitive and succinst expres- sion of Bryn Mawr’s philosophy and aims, the News here prints the ad- dress, “Liberal Ed- neation at Bryn Mawr,” delivered on Parents’ Day by President Katharine Elizabeth McBride. your thoughts at the beginning but Certainly some of the significance of liberal education and some of its problems should appear in the two stages I plan to introduce to this review. The first—in its sim- plest terms—would be to consider: what to study? how to study? where to study? The second stage would be to make some brief com- parisons. between general educa- tion and liberal education and then between. liberal education and pro- fessional education. This, limited as it is, may seem a large order, but I do believe that everi parents who got up at five o’clock—if..such there be—to drive to Bryn Mawr will be able to stay with the complexities of liberal ed- ucation in concrete form. Difficult Choices What to study? This is a ques- tion that presents the most difficult choices at the level of liberal edu- cation—it is easier in school or in graduate school. Of the many ap- proaches two may be characterized by these metaphors: a liberal edu- cation should permit the student to “open many doors,” i.e. into the world of learning; a liberal educa- tion should permit the student to “sink a deep shaft” into the world of learning. Before you make choices let me say that the Bryn Mawr approach is going to turn out to be a balance of these two! I should also add that there is a third approach to which we shall have to return: it is that whatever the access to knowledge and under- standing—the open doors or .the deep shaft—the important matter is the arrangement of material, the delineation of the pictute, which the instructor prepares for the student. ‘This, in case you want to classify it, is going to turn out liberal education. You will find neither the “open doors” nor the “deep shaft” in the Bryn Mawr catalogue, but you will find there an expression of belief that liberal education requires both “breadth” and “depth.” By “breadth” we mean first of all some -acquaintance—preliminary but not superficial—with some of the main lal ~ q to. be general as. contrasted. with Miss McBride and Nancy Wolfe Pause to Enjoy Sunshine. The title should give you a quick indication that this is going to be a more limited and I hope more specife presentation than I might have chosen. Liberal education in its role of freezing the human mind and spirit from ignorance and prejudice will not be in the center of I hope that it will be in due course. fields of knowledge. This is the purpose of the required subjects: English Composition and Philoso- phy specifically and through so- called “area requirements” one course in literature, one in natural science and one in social science or history. By breadth we also mean considerably more than this distri- bution: we mean a broad approach to any subject, with ample recog- nition of its historical development and with serious attention to its relationships with other subjects, but some of these more complex matters I am going to leave hap- pily for the panels of the after- noon. : By depth we mean the relative- ly intensive work in the field which is..developed. through the major work and its supporting allied work. “‘Relatively intensive” is ac- curate in two senses: in our own, terms, the major work is relative- ly far more intensive than the work required in five fields, and in com- parison with majors in other col- leges—in the United States and abroad—our major is among the more intensive. In short, we put more emphasis on the. major and allied work tha do many institu- tions. The gain is in “depth,” the loss is—to use an equivocal word — inflexibility. Favor Depth Students who miss time for elec-' tive courses, whether because of the requirements or because of the. major and allied.work, sometimes suggest that we change from a four-course to a five-course sys- ‘tem for the first three years or that we add a course to the senior probably be a gain in breadth, but a loss in depth—and as you can | see... our...choices,...what...we...call..a-*<"—= balance, tend to favor depth. The most accurate among you will not find this simple campari- son of breadth and depth entirely satisfactory, and I present it only because of the limits of time. In the course of the afternoon I trust you will see that intensive study can lead not only to depth but to Continued on Page 2, Col.-1_ year or both. The net result would ~ es