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College news, November 14, 1951
Bryn Mawr College student newspaper. Merged with Haverford News, News (Bryn Mawr College); Published weekly (except holidays) during academic year.
Bryn Mawr College (creator)
1951-11-14
serial
Weekly
6 pages
digitized microfilm
North and Central America--United States--Pennsylvania--Montgomery--Bryn Mawr
Vol. 38, No. 08
College news (Bryn Mawr College : 1914)--
https://tripod.brynmawr.edu/permalink/01TRI_INST/26mktb/alma991001620579...
Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation.
BMC-News-vol38-no8
Page Fowr.
THE.
COLLEGE NEWS
Wednesday, November 14, 1951 .°"!
Exhibit Shows Hapsburg
Arms with Viennese Art
Continued from Page 3
Attacked by a Lion, from the
Foule Collection, being considered
a close rival of the Vienna master-
piece.
Fifty-two of the most magnifi-
cent tapestries are in the exhibi-
tion: the verdure tapestries of the
Emperor Charles V, the canopy
and hangings for a throne, made
in Brussels in 1566, the series of
Vertunus and Pomona and many
others lend great elegance to the
show.
The remarkable series of arms
and armor belonging to leading
members of the Hapsburg family
comes from the Ambras Collec-
tion first assembled by the Arch-
duke Ferdinand of Tyrol, another
major collector of the family
whose interest was chiefly in ar-
mor and weapons of famous war-
riars.| Philadelphia has long cher-
ished the suit of tournament ar-
mor, worn by Emperor Maxmilian
I, the last of the knights, which
stands guard on the second floor
of the Museum.
The most spectacular part of
the Vienna Treasures is the sec-
tion including works of art in
precious and semi-precious mate-
rials—the gold objects, the rock
crystals and the jewelled and en-
ameled goblets, bowls and plates.
The gold-mounted emerald un-
guent jar made from a_ stone
brought back from the Andes and
still considered the largest em-
erald in existence, the Wilten
Chalice, one of the few surviving
medieval eucharistic services, the
Burgundian court goblet are only
a few of these treasures.
The climax of this group is the
gold salt cellar made by Benvenu-
to Cellini in 1540 for Francis I,
King of France, and given by his
grandson Charles IX to the Arch-
duke Ferdinand of Tyrol. This is
the famous sculptor’s earliest sur-
viving work and the only known
piece of goldsmithing unquestion-
ably by him.
Destined to be of popular in-
terest in any city is a tragic relic,
The cradle of the King of Rome,
“L’aiglon”, the ill-starred son of
Napoleon and- Marie Louise of
Austria, was presented to the par-
ents of the infant king by the
City of Paris in 1811. It was de-
signed by the artist Prud’hon and
made by Thomire and Odiot en-
tirely in silvergilt and mother-of-
pearl and is truly a masterpiece
of French goldsmiths’ work. The
cradle was taken to Vienna by
Marie Louise when she returned.
there following Napoleon’s _re-
verses and exile.
The Museum will supplement
the exhibition by works owned by
it from former Hapsburg pos-
sessions.
The Vienna Treasures will be
When you feel
that urge,
Do come in
and splurge,
And have that
. delicious frost
At just the
right cost—
THE HEARTH
Compliments of
the
Haverford
Pharmacy
Haverford, Pa.
United States Must Renounce Imperialism. First;
Iranian Situation Illustrates Swomley’s Beliefs
Continued from Page 3
sanctity of international agree-
ments, one of which Iran has
broken by ousting the British,
Other less bruited reasons are: 1)
we want to keep Russian influence
out of Iran, and 2) we are concern-
ed lest our holdings in the Middle
East become nationalized.
Iran is an integral part of the
Middle Eastern problem which in
turn is an integral part of the
U.S.-US.S.R. power struggle. With
the foregoing as a background,
Mr. Swomley discussed three as-
pects of the power struggle and
suggested a possible solution.
First we must get rid of the
idea that America is all good, and
Russia all wrong. We have a
“modest empire of our own” and
must try to realize how it appears
to the ‘Russians.
Second, when two nations are
seeking peace, and both have been
guilty in the past (no matter how
unequal the guilt percentage ra-
tio), either both must say they
have been wrong at once (in Bib-
lical terms, repent) or one must
take the initiative. Too many
“Americans ‘believe that salvation
must come in Moscow before it
comes in Washington’’.
Lastly, Mr. Swomley pointed out
that it is political naivete to wait
for the other person to repent first.
“Obviously in this short a time we
can’t repent for the whole world”.
The Middle East is a suggested
starting point. There, imperialism.
is the greatest source of irritation.
Russia has joined forces with
China to help her get rid of west-
ern imperialism. ‘China is not
blind to Russia’s own imperialism
in doing so, but she has seized the
opportunity to at least rid herself
of one imperialistic power. Such a
dramatic move as the\United States
renouncing her imperialistic hold-
ings in the Middle and Far East
—even going so far as to deny
shown in the second-floor galleries
which were used for the Berlin
Treasures and the Museum’s own
Diamond Jubilee Exhibition of
Paintings last winter. A special
preview will be held on the eve-
ning of February 1, the exhibi-
tion being opened to the public
the following day. It will continue
through March 28. The Museum
will be open daily and Sundays
from 9:30 to 5:00, including the
holidays of February 12 and 22.
There will be an admission charge
of 50 cents per person, Mondays
free. A charge of 25 cents per
person will be made for school
children attending in organized
groups. Illustrated catalogues and
color prints of many of the lead-
ing works will be available for
purchase.
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France aid in maintaining Indo-
China—Mr. Swomley firmly bey
lieves would cause the Chinese to
turn on Russia, the only remaining
imperialistic power. Such a move
would, of course, have to be accom-
panied by instruction in govern-
ment, industry, etc. for those peo-
ple liberated.
A further tour de force, putting
the Panama Canal under U'N con-
trol and calling upon England and
Russia to do the same with the
Suez and Dardenelles, Mr. Swom-
ley believes would cause fatal in-
stability in the Russian form of
government, due to pressure from
the common people.
“We can no longer hope to cope
with these tensions by an easy
gesture in the UN”, he concluded.
It will require a price to be paid,
a risk, a loss of security. The wars
in the past have required these,
but have not paid the dividends
which Mr. Swomley believes the
pacifist policies would.
Bryn Mawr Ties Ursinus
In Fast, Spirited Games
Continued from Page 3
before. The final score was 6-0,
in favor of Bryn Mawr. L. Kim-
ball made three of the goals, E.
Cadwalader two, and D. Hanna
the other. The line-up was slight-
ly different, with the following
changes: D. Hanna played center,
and A, Eristoff left half.
The Third Team also played a
match last week, but did not have
the same success as the other
teams. There wasn’t much team-
work, and no rushing, and though
Bryn Mawr fought hard they
were definitely surpassed in the
game by Ursinus.. The result of
the match was Ursinus 5-1. Liz
Simpson made the only Bryn
Mawr goal.
Christmas Shopping?
Come In and Choose
from Our $1 Items
to Fill Your Stockings
RICHARD STOCKTON
Neapall: Anderson Creates Superficial View
Continued from Page 3
vestige of nobility of- character,
the result is that Mr. Anderson
has also left him bereft of nobility
of soul. There can be no tragedy,
for the great cause has no import-
ance, the immense irony of Soc-
rate’s trial and condemnation are
non-existent. Because the medium
becomes insignificant, through the
authors’ interpretation, the entire
theme is ravaged of its import-
ance.
There are two acts and six
scenes. For four scenes the play-
wright uses every conceivable trick
to establish Socrates as a comic
character. He is worse than comic,
he is cute. (Of Athenian democ-
racy Socrates is made to say, “It
may not be perfect, but it’s ours
and we like it’’). It is not surpris-
ing then that in the trial scene Mr.
Anderson’s sudden shift of empha-
sis cannot be taken seriously. The
climax of the play, the terrible
moment of Socrates’ breakdown
when confronted with the choice
between Athens and the search for
truth, cannot but misfire. And in
the final scene, the prison, immed-
iately. before Socrate’s death, the
author substitutes the maudlin for
the noble, the pathetic for the tra-
gic. In sum, by making the man
inconsequential, Mr. Anderson also
renders inconsequential the search
for truth.
The book is a mixture of direct
quotations from the Dialogues,
devastating cuteness, the modern
idiom and an elaborate circumven-
tion of what would be unnoticeable
anachronisms. Pausanias, ‘the
Spartan king, decides to return
| Of a Potentially Magnificent Dramatic Theme
home “to mend the holes in his po-:
litical socks”, yet, to make a.deci-
sion, Critias—most self-conscious-
ly—allows Socrates “the time it
takes an.eagle to cross the sky”.
And the cuteness reaches a real
low when Socrates, on trial for his
life, and, more important, his phil-
osophy, interrupts his defense to
comment that “perhaps all this
will be written down some day,
perhaps by young Plato there (he
points into the audience), who is
always writing things down.”
In the end, Mr. Anderson has
so confused the situation that one
does not give a drachma what
happens to Socrates or to his.
search for truth, which, by this
time, seems pretty childish,
The acting is competent, some-
times good. The set and costumes
are adequate, if uninspired. But
they are secondary aspects.
Maxwell Anderson has a way of
alluding to great themes and
sprinkling his casts with noble
names that may fascinate the
curious and delude the unwary.
With this play, the author’s su-
perficiality can no longer hide be-
hind his grandiose themes. In-
deed, their very greatness illum-
inates his weaknesses; he can
make almost anyone dull. Once
again he has sought to explore a
tragic theme and succeeded only
in exploiting it, From an intri-
cate and potentially magnificent
theme, Mr. Anderson has created
a superficial and confused combi-
nation of farce end pathos. This
is why Barefoot in Athens is
worse than a poor play, and why
it is so appallingly bad.
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