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Page 26 text:
BEHIND A FACE During the middle ages all art took the form of religion. Among the immortal masters, Leonardo da Vinci was one of the greatest. His most renowned work is the inimitable " Last Supper " . So ignorant were the people of his age, and so great was their lack of appreciation of the beautiful and unusual, that the wall upon which this masterpiece was created was soon turned into the side of a stable. It was not until several centuries later that this wonderful painting was discovered. The picture was covered by the remains of many coats of whitewash, and it was by the merest chance that this masterpiece is in evidence at all. The colors were faded and the original brilliance and clearness obliterated by the hand of time and neglect. The figures were dim, the outlines misty, and the features of those biblical characters hardly distinguishable. Yet, with all these defects, there was beauty there which perhaps will never find an equal. Not only is the painting itself extraordinary, but there is a romance about this masterpiece which increases its value to all beauty lovers. Leonardo da Vinci was searching with utmost diligence through the towns of Italy for a model to serve as the Master. He felt that not only was a man essential with a correctly proportioned figure, but that to reproduce the Master ' s character it was necessary for the model to possess a certain degree of spirituality. After much labor he secured a model who was entirely satisfactory. The model was a yovmg man recently freed from a monastary where he had been completing his limited education under the tutelage of monks. It was not many months before this young man ' s task as model was completed. The artist, com- pletely absorbed in his life ' s work, lost all trace of his youthful model. Years passed, and the artist ' s hours of toil showed their results. The painting was nearly finished, but Judas remained to be painted. Leonardo da Vinci began his search for a model. His task was not difficult, for during the first week he found a beggar so suitable that the artist ' s cup was filled with joy. It is not necessary to go into detail concerning the appearance of the unfortu- nate beggar. To say that he filled the part of Judas perfectly seems sufficient. Every one recognizes Judas as a man of evil face and furtive eyes, in every way dis- reputable. Such was the appearance of this man of the streets. It was not diffi- cult for Leonardo da Vinci to entice this man to act as model. The charm of gold indeed did all. While Leonardo da Vinci was working with him, he was amazed at how familiar this man ' s face seemed. He asked the beggar if their paths had met before, and made the amazing discoverj that the man who posed as the Master and his present model were one and the same man. The hand of time had done its work; the years of dissipation and indulgence had reaped their harvest. — Helen Buchanan, H9.
Page 25 text:
" Everything went off without a hitch, and in a few hours I found myself in the gangsters ' boat, sailing shoreward again. " During the terror-filled months that followed I was haunted perpetually by the spectres of fear that my mind conjured up. I grew to a mere shadow of myself with but one thought in my sick brain, to escape from the terrible thoughts that haunted my soul day and night. " Finally I was driven, literally driven, to the police, by my horror-filled brain. I had no choice at all. I gave myself up, and you know the rest. " I could restrain myself no longer: " Great Scott, man, you saw Miss Wright in the arms of her brother, no m.ere lover! ! " John Evans goes to the chair tonight, a victim of circumstances. — Keith Monroe, H7. THE CHARM OF AN OPEN FIRE The logs are crackling on the hearth And make a ruddy glow, Bright sparks are popping, wood ' s ablaze. When fanned by bellows ' blow. The roaring lends a coziness. And all the atmosphere About the fire and in the room Is one of pleasant cheer. I wish that I could tell you all A woodfire means to me, It truly makes the house a home. Wherever it may be. For walk into a dwelling On any chilly night, And if there isn ' t any fire. The place just isn ' t right. Oh, naught can satisfy me more. Upon a winter ' s night, Than hearthwood blazing up in flame, A fire so warm and bright! — Barbara Brock, H9. AUTUMN Autumn leaves are falling down, Yellow, red, and green, and brown. Slowly falling, circling round, Scarcely making any sound. Summer days have come and gone. Summer winds have sung their song, And to south-lands winging high. Fly the birds against the sky. — Katherine King, H7.
Page 27 text:
OUR OLD RED FORD Poor Romeo is ten years old, But he is worth his weight in gold. They say the gas tank leaks and yet, Whenever we want to go we get In our old red Ford. The sun was shining bright one day, My friends and I were feeling gay Enough to take a bouncing trip. Yes, even if the gears did strip In our old red Ford. We now were started on our way, The car was running smooth that day. We passed the Cadillacs and Stars, And every single form of cars, In our old red Ford. A sign which stood beside the road Did show in automobile code A boulevard stop in letters red, My friends and I went right ahead In our old red Ford. And still another one we saw To make us keep within the law. " Detour " it said in letters black, But we were over without a slack, In our old red Ford. And here ' s another of those things. But Romeo was made with wings. So fifteen miles on curves is slow For this gay crowd to try to go In our old red Ford. There was one thing that made us stop. Perhaps you know of him — the cop. For ever since this c ar first ran, We ditch the cop whene ' er we can. In our old red Ford. So if you see us going along. You ' re sure to hear a happy song. And Romeo will be our friend, As we travel on to the very end. In our old red Ford. — Betty King, L8.
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