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And Black-and-White was a section to be visited in the freshness of the morning, not to be put off, like the dull, shockingly over-crowded little room at the Academy, to the last hurried moments of fatigue a section to devote the day to and then to leave only for the bookstall or bookshop where we could invest the money we had not to spare in the books and magazines and papers illustrated by Carlos Schwabe and Khnopf and Steinlen and Willette and Caran D'Ache and Louis Legrand and Forain and the men whose work in the original we had been studying and laying down the law about for hours.
From days in the Salons, from the illustrated papers and magazines and books we filled our bags with to take back to London, we could not measure the full powers of men like Willette and Caran d'Ache and Rivière and Louis Morin until we had seen also The Prodigal Son, The March of the Stars, and all the stories they told in those dramatic silhouettes those marvellous little black figures, cut in tin, only a few inches high, moving across a white space small in due proportion, but so designed and posed and grouped by the artist as to give the swing and the movement and the passing of great armies until one could almost fancy one heard the drums beat and the trumpets call, or to suggest the grandeur and solemnity of the desert, the vastness of the sky, the mystery of the night.
Mamie Folsom Wynne, Miss Katherine Koch, Mrs. DeLacy Eastman, Mrs. Amelia R. Woodall; recording secretaries, Miss Willette Allen, Mrs. Alice C. Daniels; treasurers, Mrs. E. O. Archer, Mrs. Mary Osborne, Mrs. M. K. Mathews, Mrs. E. C. Cresse; auditor, Mrs. W. H. Felton. In October, 1919, when Mrs.
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