Chapter X: The Point of the Story

“_Time Was unlocks the riddle of Time Is_.
_That offers choice of glory or of gloom_:
_The solver makes Time Shall Be surely his._”

The point of the story is the music that the Philadelphia Orchestra makes. It would be a tragedy if after twenty-five years anyone could ask “Why?” A tragedy for the officers and directors, for the Women’s Committees, and for the reader and writer of this book. For the musicians and for Leopold Stokowski it would be more than a tragedy, the object of life would cease to exist.

Beginning in 1912 the musical record becomes more and more interesting. The leader has poured out his talents for Philadelphia and the feast has been lavish. Programme after programme of the works of the great, interpreted by the brain of Leopold Stokowski have enthralled his audiences. Only a few special selections and occasions can be mentioned, but a perusal of the programmes for thirteen years shows that the average of Philadelphia Orchestra concerts is far above the usual average, for he is a master maker of programmes.

1912-13: Gustav Strube, “Puck”; Herman Sandby, Prelude to Act IV “The Vikings of Helgenland”; Edward Elgar, Symphony No. 1; Guiseppe Martucci, Symphony No. 1; Sigismund Noszkowski, “Die Steppen”; Richard Strauss, “Liesbes Scene” from “Feursnot,” “Salome’s Tanz”; Henri Rabaud, Symphony No. 2[42]; Ernest Schelling, “Légende Symphonic.”[43]

[42] First performance in America.

[43] First performance in America.

1913-14: Hans Erich Pfitzner, “Käthchen von Heilbronn,” overture; Fernandez Arbos, “Guajiras,”[44] violin and orchestra; Florent Schmitt, “Rapsodie Viennoise”[45]; Albert Roussel, Evocation No. 2 “La Ville Rose”[46]; Henry Hadley, Symphony, “North, East, South and West”; Erich Korngold, “Schauspiel” Overture; Otto Mueller, member Philadelphia Orchestra, “Dramatic Overture”; Henry A. Lang[47], Symphony “Fantasies of a Poet”; Beethoven, Ninth Symphony with Chorus.

[44] First performance in America.

[45] First performance in America.

[46] First performance in America.

[47] Philadelphian.

1914-15: Jan Sibelius, “Finlandia”; Bach, triple concerto, piano, violin and flute; Paderewski, Symphony B minor[48], Special Concerts for the Benefit of the Pension Fund; Mendelssohn, “Lobgesang Symphony” with soloists and sixteen Choral Societies; Wagner Programme. Frederick Stock, Symphony C minor; Feruccio Busoni, Indian Fantasy, piano and orchestra;[49] Sandby, Suite from “The Woman and the Fiddler”; Mrs. H. H. A. Beach, Symphony “Gaelic”; Georges Enesco, “Roumanian Rhapsody.”

1915-16: Gustav Strube, “Variations on an Original Theme”; Camille Zeckwer[50], Symphonic Poem, “Sohrab and Rustum” (conducted by composer); Enrique Granados, Intermezzo and Epilogue from Goyescas; Gustav Mahler, Eighth Symphony for orchestra soli and chorus;[51] Strauss “Alpensymphonie.”[52]

[48] First performance in America.

[49] First performance in America.

[50] Philadelphian.

[51] First performance in America.

[52] First performance in America.

1916-17: Frederick A. Stock: Violin Concerto, D minor; Arne Oldberg “June” (conducted by composer); Gustav Mahler, “Das Lied von der Erde,”[53] symphony for soli voices and orchestra; Max Bruch, Concerto for two pianos written for Rose and Ottilie Sutro (first world performance); Michel Dvorsky, “Chromaticon” piano and orchestra, Josef Hofmann, pianist; Debussy, “The Blessed Damosel” after Rosetti for soprano and Chorus of Women; Schelling, “Impressions,” variations for piano and orchestra, composer at the piano; Liszt, Eine Faust Symphonie, orchestra, tenor and bass soli and chorus; Bach, Matthäus Passion, orchestra, soli, Philadelphia Orchestra Chorus, Chorus of Girls from Philadelphia Normal School and Girls’ High School.

[53] First performance in America.

1917-18: American Programme, Edgar Stillman Kelley Symphony “New England,” compositions by Philip H. Goepp, Arthur Foote; Skryabin, “Poème de l’Extase”; Beethoven, Three Equali for four Trombones; Bach, Concerto, three pianos and orchestra, Mme. Olga Samaroff, Bauer, Gabrilowitsch; Sinding, Symphony; Ernest Chausson, “Poème” violin and orchestra, Thaddeus Rich, violinist; Bloch Programme, concert conducted by composer; Selim Palmgren concerto “The River,” piano and orchestra.

1918-19: MacDowell “Indian Suite” dirge in memory of fallen Americans; Dvorsky, “The Haunted Castle”; Debussy “Sirènes,” orchestra and women’s voices; Lorenziti, Suite for Viole d’Amour, Henri Casadesus, soloist; Rachmaninoff, Air for a Choir of Solo Violins with orchestra; Programme of four American composers, Frederic S. Converse, H. Clough-Leiter, John Alden Carpenter, Cecil Forsyth; Leo Ornstein, piano soli, composer at the piano; Chadwick, “Tam o’Shanter”; Ernest Bloch, Symphony No. 1; Louis Garnier, “Vision” Poème for Orchestra.

1919-20: Beethoven, Choral Fantasy in C minor, piano, orchestra and chorus, Mme. Samaroff, pianist; Malipiero, “Pause del Silenzio”; Loeffler “A Pagan Poem” for Orchestra, with piano, English horn and three trumpets obligato, Bauer pianist; Charles T. Griffes, four compositions for orchestra; Rachmaninoff, Concerto No. 3, piano and orchestra, composer at the piano; Symphony “The Bells”[54] (after Poe), orchestra solo voices and Philadelphia Orchestra Chorus; Lorenziti, Concerto for Viole d’Amour, double bass and orchestra, Thaddeus Rich and Anton Torello, soloists; Weber, Concertino in F for bassoon and orchestra, Richard Krueger, soloist; André Maquarre, two compositions for orchestra; Mozart Opus 30, arranged as a Concerto for oboe and small orchestra, Marcel Tabuteau, soloist; Beethoven, Ninth Symphony, Philadelphia Orchestra Chorus, marking Ninety-sixth Anniversary of first performance, 1824.

[54] First performance in America.

1910-21: Leo Sowerby “Comes Autumn Time”; J. Guy Ropartz, Symphony No. 4; Cyril Scott, concerto piano and orchestra, composer at the piano; John Alden Carpenter “A Pilgrim Vision” to mark Tercentenary of Landing of the Mayflower; Beethoven, Ninth Symphony with Philadelphia Orchestra Chorus; Brahms; double concerto violin and cello, Rich and Penha, soloists; Brahms, “Requiem,” soprano and baritone soli, chorus and orchestra; Gilchrist[55], Symphonic Poem, unveiling of Gilchrist memorial; Mahler, Symphony No. 2, for orchestra, chorus and solo soprano and contralto.

[55] Philadelphian.

1921-22: Sibelius, Symphony No. 5[56]; Alfredo Casello, “Pages of War” for orchestra; Gregor Fitelberg, Polish Rhapsody[57]; Bloch, Suite for viola and orchestra; Schoenberg, Five Orchestra Pieces; Vincent d’Indy “Poème des Rivages,” d’Indy, guest conductor (first performed on present tour); Bach Passacaglia, orchestrated by Leopold Stokowski (first time); Strawinsky “Sacre du Printemps”[58]; Manuel de Falla, excerpts from “El Amor Brujo”[59]; Otto Mueller, Carnival Overture “Schlaraffiada.”

1922-23: Debussy “La Cour des Lys”; Ravel, “La Valse Choreographic,” Poem for Orchestra; Strawinsky, “Feuerwerk”; Franck Centenary, Symphony D minor. The orchestra was engaged by Dr. Richard Strauss for four New York concerts of his own works exclusively. Dr. Strauss also conducted one in Philadelphia.

1922-1923: Camille Zeckwer, “Jade Butterflies”; Strawinsky, “Trois Poésies de la Lyrique Japonaise”; Enesco, Symphony E flat, Roumanian Rhapsody, Enesco, guest conductor; Brahms, concerto for violin, Enesco, violinist; January 26th and 27th, 1923, compositions by Milhaud, Poulenc, Auric, Satie; Schelling, “A Victory Ball”; Pick-Mangiagali, “Sortilegi,” Symphonic Poem, piano and orchestra; D. G. Mason, Prelude and Fugue, piano and orchestra; Henry Eichheim, Oriental Impressions for Orchestra; Schoenberg, “Kammersymphonie”.

1923-24: Strawinsky, “Chant du Rossignol”[60]; Bach concerto for harpsichord; Händel, concerto for harpsichord, Wanda Landowska, soloist; Strawinsky, “Symphonie d’Instruments à Vent”[61]; Josef Hofmann, compositions for piano and orchestra, East and West, Caliedescope, the Haunted Castle, “Chromaticon” (Dvorsky); Ottorino Respighi, “Sinfonia Drammatica”; Deems Taylor, Suite “Through the Looking Glass”; compositions by Magnard, Jean-Jules-Amable Roger-Ducasse; Hand Krása; Strawinsky, “Renard,” burlesque for Chamber Orchestra, two tenors, two basses; Beethoven, Ninth Symphony with Toronto Choir.

[56] First performance in America.

[57] First performance in America.

[58] First performance in America.

[59] First performance in America.

[60] First performance in America.

[61] First performance in America.

1924-25: Nicholas Medtner, piano concerto, composer at piano; Edgar Varese, “Hyperprisms”; Paul Hindemuth, Nusch-Nuschi Dances; Karl Szymsanowski, violin concerto[62]; Kurt Atterberg, Symphony No. 2; Henry Joslyn, War Dance from Suite, “Native Moments”; Strawinsky programme, Strawinsky guest conductor; Prokokieff, Suite Scythe, “Ala and Lolli”; Arthur Bliss, “Mêlée Fantasque”; Germaine Taillefer, Concerto[63] for piano and orchestra; Isaac Albeniz, “Fête Dieu à Séville”; Edward Burlingame Hill, Arthur Bliss, compositions for two pianos and orchestra.

[62] First performance in America.

[63] First performance in America.

It must not be supposed from the above that the usual standard works are not performed. The list is given to show the wide musical range to which Philadelphians are treated. No mention has been made of the many Wagner and Tschaikowsky programmes that have been presented. They have occurred every year and are always a delight.

It is a pleasure to mention the principal players in the orchestra, who are not generally known personally by the audience. It is a case of “by their voices you shall know them,” and their voices enthrall the listeners week by week. First comes Dr. Thaddeus Rich, most popular of concertmasters and an assistant conductor of no mean attainments, who is sometimes called to take the conductor’s place at the last minute, where he acquits himself with honors. As we look farther there are: David Dubinsky, first second violin; Samuel Lifschey, first viola; Hanns Pick, violoncello; W. M. Kincaid, flute; Marcel Tabuteau, oboe; Daniel Bonade, clarinet; Anton Horner, horn; Walter Guetter, bassoon; Sol. Cohen, trumpet; Gardell Simons, Paul P. Lotz, C. E. Gerhard, trombones; Philip A. Donatelli, tuba; Anton Torello, bass; Vincent Fanelli, Jr., harp; and last but not least, Oscar Schwar, tympani. These players all possess the requisites, which seem to be ability to play and ability to obey, for the response of their wills to the will of the leader is what makes success in an orchestra. One noticeable feature about the musicians is their youth; this is patent to the eye, and to the ear, from the virility of their performance.

To those who do not see farther than the Academy stage, it would be useless to explain that the conductor’s activities are not confined to stepping briskly onto the platform and leading concerts. People who have given the matter thought must know that he is working all the year round for the Philadelphia Orchestra. The rehearsals are very exacting and the players are wonderfully prepared. Conducting a concert means a physical, mental and emotional strain which is only understood by those who have seen the conductor as he comes off the stage. Leading without a score requires perfect concentration. Painstaking effort and patience on the part of Mr. Stokowski bring their reward in the finish of the performance, but it looks so easy! And therein is shown his skill. Next there is the constant search for new works and the mastering of them before rehearsals can begin. Much time is occupied in hearing and selecting players, for no stone is left unturned to find the best artists for each position. The mail is also a subject of importance, as correspondence is kept up with individuals and publishers and then there are letters of complaint or approval, all to be answered. The conductor is a busy man, whose brain never stops working, planning, devising for the orchestra.

Leopold Stokowski’s musical gifts are of a nature difficult to describe. What thrills come to one at the remembrance of certain moments, the first hearing of the Bach “Passacaglia,” the “Prelude and Liebestod” from Tristan, the symphonies of Brahms, Schubert and Tschaikowsky, Mahler’s Eighth, where the chorus “Alles Vergängliches ist nur ein Gleichniss” soars aloft, Beethoven’s Seventh, and the Ninth with the Mendelssohn Choir of Toronto. But why mention special moments? The audiences have come to expect every concert to be a “special moment.”

Philadelphia is to be congratulated that the orchestra bearing its name is in the hands of Leopold Stokowski, master musician. It is constantly advancing. When one peak on the climb is reached, the clouds roll away and another comes into view. Let no man speak its doom by proclaiming that the summit of Parnassus has been reached by the Philadelphia Orchestra.

* * * * *

The name of Alexander Van Rensselaer, Esq., appears on the first page of this book. It is fitting that it should also appear on the last, for the president’s activities encircle the orchestra. Many records of his deeds appear in the annals of the Association, and many more are engraved in the hearts of his fellow-workers and fellow-townsmen. He is the only person, however, who knows what sacrifices his devotion has entailed. For although a president may appear to enjoy more sunshine than other individuals, he also bears the shock of all the storms. The responsibility of such a post for twenty-five unbroken years is a heavy burden for a man to bear. To say that he has borne it and continued to hold the respect and affection of Philadelphians is the finest tribute that could be paid him.

The story told in this book has been made possible by the president of the Philadelphia Orchestra Association.

IN MEMORIAM
THEODORE THOMAS
BORN OCTOBER 11, 1835; DIED JANUARY 4, 1905

“The death of the pioneer of American music, and a veritable Titan
of Conductors, Theodore Thomas, brings consternation to the world
of music, as this great man stood for all that is pure and noble in
his art. An event so calamitous, and peculiarly significant here in
Philadelphia, where he was well known and beloved, devolves upon me
the sad duty of giving an orchestral expression of our deep grief.
While it is true that an all-wise Providence saw fit to remove
from the field of action one who had probably reached the apogee
of his power and influence, yet keen regret must of necessity be
experienced, an emotion best expressed through the medium that
the great Thomas made his own—the orchestra. Therefore, I deem it
wise to change the programme for the Seventh Concert, selecting
such numbers as, in a sense, may be regarded as a mortuary mass.
In agreement with this idea, which I am sure my supporters
will endorse, I have made the following changes, substituting
such numbers that, were the lips now stilled in death able to
articulate, they would, I trust, unreservedly approve.
FRITZ SCHEEL
Conductor of the Philadelphia Orchestra.”

Philadelphia, January 6, 1905.

PROGRAMME
1. RICHARD WAGNER
Siegfried’s Death from “Die Götterdämmerung”

2. WOLFGANG AMADEUS MOZART Symphony, G minor

I. Allegro Molto 4/4
II. Andante 6/8
III. Menuetto: Allegro 3/4
IV. Finale: Allegro Assai 4/4

3. JULES DE SWERT Concerto for Violoncello and Orchestra,
No. 2, in C minor, Op. 38

Allegro moderato—Espressivo, 4/4
ALFRED SAAL

4. RICHARD STRAUSS Serenade, Opus 7, Andante, E flat major
For 2 Flutes, 2 Oboes, 2 Clarinets, 4 Horns,
2 Bassoons, and Contra Bassoon

5. LUDWIG VON BEETHOVEN Overture, “Leonore No. 3,” Op. 72

PROGRAMME OF CEREMONIES
FRITZ SCHEEL MEMORIAL

Academy of Music
Wednesday, March Eleventh
Nineteen Hundred and Eight
at Three o’Clock

In Memoriam

FRITZ SCHEEL
BORN LÜBECK, 1852; DIED PHILADELPHIA, 1907

RICHARD WAGNER Vorspiel “Parsifal”

Address
MR. OWEN WISTER
RICHARD STRAUSS Tone Poem “Tod und Verklärung”

BEETHOVEN Funeral March from Eroica Symphony
DR. S. WEIR MITCHELL

January 9-10, 1914

BEETHOVEN Slow Movement from Symphony No. 7, in A major
THEODORE N. ELY
November 3-4, 1916

BEETHOVEN Eroica Symphony Marcia Funèbre
HAROLD ELLIS YARNALL

April 7-8, 1917

MACDOWELL “Dirge” from Indian Suite
Tribute to the memory of our soldiers and sailors who
have fallen in the war

November 15-16, 1918

BEETHOVEN Eroica Symphony Marche Funèbre
THEODORE ROOSEVELT
January 17-18, 1919

* * * * *

“RESOLUTION PASSED AT MEETING OF BOARD OF
DIRECTORS, NOVEMBER 26th, 1919

“WHEREAS, the Directors of the Philadelphia
Orchestra Association note with deep sorrow the death
of Major Henry Lee Higginson,

“And WHEREAS, they recognize that by his death
the cause of good music throughout the country has
sustained an irreparable loss,

“And WHEREAS, they recognize their own deep
debt of gratitude to him for his pioneer work in the
said cause of music,

“BE IT RESOLVED that they place on record
their very real sense of this great loss and their
feeling of sympathy in it not only with the members of
his family, but with every officer and member of the
Boston Symphony Orchestra Association.

“It is further ordered that the Secretary of the
Philadelphia Orchestra Association transmit a copy of
this resolution to Mrs. Higginson and to the officers
and members of the Boston Symphony Association.”

“The Dirge from MacDowell’s ‘Indian Suite’
will be played

IN MEMORY
of
The Founder of the Boston Symphony Orchestra

MAJOR HENRY LEE HIGGINSON
November 18, 1834—November 14, 1919”

November 28-29, 1919
SCHUBERT Unfinished Symphony, Andante
GEORGE W. ELKINS

December 5-6, 1919
WAGNER Funeral March from “The Twilight of the Gods”
MRS. ALEXANDER J. CASSATT

January 23-24, 1920

Resolution passed by the Women’s Committee, January 20th, 1920.

MRS. ALEXANDER J. CASSATT

“Mrs. Cassatt was associated with the Women’s Committee
for the Philadelphia Orchestra, as an Honorary
Vice-president, at the time of its organization in
1904; in 1909 she was elected to the Board of Managers,
and in 1914 became a Vice-president, which position
she held until her death on January 9th, 1920. She was
Chairman of the Nominating Committee for many years
and conducted its affairs with discretion and ability.
She was also Chairman of a Committee, which during the
winter of 1912 devoted much time and thought to the
revision of the By-laws.

“Mrs. Cassatt gave her support to the cause of an
orchestra for Philadelphia, however, before the
Philadelphia Orchestra was organized as such, and
before the Women’s Committee had a reason for existing.
In the spring of 1900, she organized a committee
of women which carried through the two so-called
Philippine Concerts and gave Fritz Scheel his first
opportunity to appear in Philadelphia as a conductor of
an orchestra composed of professional musicians; as a
direct result the Philadelphia Orchestra was organized
in the fall of that year.

“In spite of failing health and physical suffering,
Mrs. Cassatt’s interest in the welfare of this
Committee and the orchestra never flagged; her wise
counsel was freely given, and her gracious presence was
always an inspiration. She gave to this Committee the
benefit of her wide knowledge of people and affairs,
and for this we have a deep sense of gratitude.

“Her last public appearance was at the Philadelphia
Orchestra Endowment Fund Campaign Luncheon on November
6th, 1919, on which occasion she presented the gift of
one thousand dollars to the Endowment Fund from the
Women’s Committee as a tribute to its President, Miss
Frances A. Wister.

“The influence of her loyalty will remain a rich
heritage for the Women’s Committee for the Philadelphia
Orchestra.

“THEREFORE, BE IT
“RESOLVED, That we, the members of the Women’s
Committee for the Philadelphia Orchestra, hereby
express our affection and respect for Mrs. Cassatt, and
our grief and sense of irreparable loss at her death.

“BE IT ALSO RESOLVED, That we record our
appreciation of Mrs. Cassatt’s interest in the affairs
of this Committee, of her work for the Philadelphia
Orchestra, and of her distinguished qualities of
leadership. We are profoundly touched by the fact
that Mrs. Cassatt’s last public appearance was in our
behalf, and are mindful of the privilege that has been
ours in working with her for the cause of music in
Philadelphia.

“BE IT ALSO RESOLVED, That this resolution
together with the preamble be spread upon the minutes
and that copies be sent to Mrs. Cassatt’s family as an
expression of our deep sympathy in their loss.

_Committee on Resolutions_
(Signed) FRANCES ANNE WISTER, _Chairman_
ADÈLE G. YARNALL
MRS. SIMON B. FLEISHER
SALLIE HOUSTON HENRY
ELIZABETH H. ARNETT”
January 20th, 1920.

WAGNER “Götterdämmerung” Funeral March
CHARLES A. BRAUN
October 27-28, 1922.

BEETHOVEN Symphony No. 7, Slow Movement
EDWARD G. MCCOLLIN
November 30, December 1, 1923.

WAGNER Funeral March from Götterdämmerung
WOODROW WILSON
February 8-9, 1924.

CHOPIN Funeral March
MRS. ALEXANDER J. DALLAS DIXON
October 16-17, 1925.

MRS. ALEXANDER J. DALLAS DIXON
“DIED SEPTEMBER 20, 1925

“RESOLUTION PASSED BY THE PHILADELPHIA ORCHESTRA
ASSOCIATION

“The officers and members of the Administration
Committee of The Philadelphia Orchestra Association
have learned with deep sorrow of the death of Mrs.
Alexander J. Dallas Dixon, who had been a member of
the Board of Directors of the Orchestra Association
since its very beginning, as well as first President of
the Women’s Committee for The Philadelphia Orchestra.
Her charming personality, sweet disposition and wise
judgment combined to make her endeared and respected by
all her associates.

“In her death we have lost a true and devoted friend
of music and a lady with whom it was a pleasure to be
associated.

“THE WOMEN’S COMMITTEE FOR THE PHILADELPHIA
ORCHESTRA

“MRS. ALEXANDER J. DALLAS DIXON

“Mrs. Alexander J. Dallas Dixon, the first President of
this committee, who died on September 20, 1925, was for
several reasons especially dear to our members.

“Captains of ships who take the helm for voyages over
uncharted seas, or leaders of expeditions across
unknown continents who bring such undertakings to
successful ends, receive the honor of their comrades.
How much more should we treasure the memory of a
pioneer leader, whose enterprise was so skillfully
planned that the work for a noble purpose has been able
to continue during twenty-one years.

“Long before Mrs. Dixon entered upon the difficult
position of President of this committee, however, she
was a force in the musical life of the city. As an
amateur pianist and singer, and as a member of the
Eurydice Chorus and of the Melody Club, she was a
well-known and important figure among the devotees of
this enchanting art.

“Mrs. Dixon taught the committee many lessons, although
some of us were unaware of this fact at the time,
and probably she was herself. Behind a delightful
simplicity of manner there lay courage, patience,
ability, firmness of purpose in an unpopular cause and
a shining soul. Therefore, personally and officially,
Mrs. Dixon was the greatest ornament that the committee
has possessed and the most beloved officer. It is
especially distressing to us to lose her from our
midst at a time when all friends of the Philadelphia
Orchestra are rejoicing in the Twenty-fifth Anniversary
of the first concert, which is to be celebrated in
November. So devoted a member of the Board of Directors
of The Philadelphia Orchestra Association will be much
missed on that occasion.

“It may be well said, ‘Her ways were ways of
pleasantness and her paths were paths of peace,’ for,
led by her, the Women’s Committee for The Philadelphia
Orchestra has wended its steps along the same road. Our
gratitude will endure while the committee continues to
exist.

“A committee composed of the officers has been
appointed to present a resolution for action at this
special meeting of the Women’s Committee for The
Philadelphia Orchestra.

RESOLUTION
“MRS. ALEXANDER J. DALLAS DIXON
“First President of the Women’s Committee for
The Philadelphia Orchestra—1904-1912

“Mrs. Alexander J. Dallas Dixon was the first President
of the Women’s Committee for The Philadelphia
Orchestra, which was organized at her house on March
11, 1904. Until 1912 she continued as its presiding
officer and during these years she held the esteem
and affection of the members of the committee and
administered its affairs with wisdom, justice and a
broad vision.

“Therefore, be it Resolved:
“That we, the officers and members of the Women’s
Committee, desire to record our deep sense of loss
in the death of a beloved former President and
late Honorary Vice-President, and to express our
appreciation of her fearless initiative, her unfailing
good judgment, her gentle but firm character, her wise
leadership.

“Be it also Resolved:
“That this resolution be spread upon the minutes and
that a copy be sent to her husband.

COMMITTEE
“FRANCES ANNE WISTER, _President_
ADÈLE G. YARNALL, _Vice-president_
SALLIE HOUSTON HENRY, _Vice-president_
HELEN WARREN ALLEN, _Treasurer_
ELIZABETH H. ARNETT, _Corresponding Secretary_
MARGARET S. WOOD, _Recording Secretary_”

October 8, 1925.

APPENDIX