1

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