Books in French - Fiction, continued. Prévost, E. M. L'adjudant Benoît. Alphonse Lemerre, 1916. Non-Fiction Bataille, Henry. La divine tragédie; poème. Bibliothèque-Charpentier, 1916. La joie rouge. Le cercle de Cain. Le cercle d'Eve. La forêt des ruines. La coulée du sablier. Le sacre de la mort. Bigot, Raoul. Le Mexique moderne. Pierre Roger & Cie., 1909. Bonnefon-Craponne, L. L'Italie au travail. Pierre Roger et Cie., 1916. Bouloc, Enée. Visions de guerre et de victoire. Plon-Nourrit et Cie., 1915. Cambon, Victor. L'Allemagne au travail. Pierre Roger et Cie., 1915. Bordeaux, Toulouse, Montpellier, Marseille, Nice. Pierre Roger et Cie., 191-? (La France au travail.) Les derniers progrès de l'Allemagne. Pierre Roger et Cie., 191-? Dangennes, B., pseud. L'âme de votre enfant; ce que tout père et mére doivent savoir. Editions Nilsson, 19—? Dwelshauvers, Georges. Ernest Flammarion, 1916. L'inconscient. Fraser, J. F. L'Amérique au travail; traduit de l'anglais par Maurice Saville. Pierre Roger et Cie., 1913. Panama, l'œuvre gigantesque; adapté de l'anglais par Georges Feuilloy. Pierre Roger et Cie., 191-? Fyfe, H. H. Aux pays de l'or et des diamants; Cap, Natal, Orange, Transvaal, Rhodésie; adapté de l'anglais par Georges Feuilloy. Pierre Roger et Cie., 19-? Hérubel, M. A. En suivant les côtes, de Dunkerque à Saint-Nazaire. Pierre Roger et Cie., 191-? (La France au travail.) Izart, Julien). La Belgique au travail. Pierre Roger et Cie., 1915. Koebel, W. H. L'Argentine moderne; traduit de l'anglais par M. Saville et G. Feuilloy. Pierre Roger et Cie., 1912. Moreno, Marguerite. Une Française en Argentine; préface de Yvonne Sarcey. Georges Crès & Cie., 1914. Barbiera, C. R. Il salotto della Contessa Maffei; con lettere inédite di G. Verdi e ritratti. Baldini, Castoldi & Co., 1903. Bertolazzi, Carlo, and C. R. BARBIERA. I fratelli Bandiera; dramma storico, con proemio storico e notizie inedite di Raffaello Barbiera. Fratelli Treves, 1916. Castiglione, Baldassare, conte. Il cortegiano; con una prefazione di O. Bacci. Istituto Editoriale Italiano, pref. 1914. Fradeletto, Antonio. Il precursore; conferenza di Antonio Fradeletto. Fratelli Treves, 1915. PUBLISHED MONTHLY BY THE NEW YORK PUBLIC LIBRARY AT 476 FIFTH AVENUE, NEW YORK CITY CENTRAL CIRCULATION. CHILDREN'S ROOM. LIBRARY FOR THE BLIND. CHATHAM SQUARE.* 33 East Broadway. HAMILTON FISH PARK.* 388 East Houston street. HUDSON PARK.* 66 Leroy street. BOND STREET, 49. Near the Bowery. OTTENDORFER. 135 Second avenue. Near 8th street. TOMPKINS SQUARE.* 331 East 10th street. ST. GABRIEL'S PARK.* 303 East 36th street. 40TH STREET,* 457 West. CATHEDRAL, 123 East 50th street. COLUMBUS.* 742 Tenth avenue. Near 51st WEBSTER.* 1465 Avenue A. Near 78th street. YORKVILLE.* 222 East 79th street. ST. AGNES.* 444 Amsterdam avenue. Near 81st street. 96TH STREET,* 112 East. BLOOMINGDALE. 206 West 100th street. AGUILAR.* 174 East 110th street. 115TH STREET,* 203 West. 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Any person having a home or business address in any one of the five boroughs of the City of New York is entitled to the privileges of The New York Public Library. Borrowers' cards are issued upon application at any branch in accordance with the regulations of the Library. PRIVILEGES OF BORROWERS. Adults may borrow at one time six volumes (only one of which shall be a new and popular book), a magazine, and an opera libretto. Books may be retained either two weeks or one week. Any two-week book may be renewed for an additional two weeks if application is made. VACATION READING. - During the summer eight books may be taken at one time for vacation reading. They may be kept until October 1. CATALOGUE. A catalogue of all the books in the department is open to the public on week days from 9 a. m. to 5 p. m. in room 100, Central Building. BRANCH LIBRARY NEWS. — The Branch Library News is given away free of charge at all branches. The arrangement of Branches, with the exception of the Central Building, is from south to north in Manhattan and The Bronx. Occupying Carnegie Buildings. form p-01s [vil |-9-16 13m) BOOK ILLUSTRATION D AN BEARD was selected to make the illustrations for Mark Twain's "A Connecticut Yankee in King Arthur's Court." Said Mark Twain to him: "Mr. Beard, I do not want to subject you to any unnecessary suffering, but I do wish you would read the book before making the pictures." Mr. Beard replied that he had read it twice. Mark Twain expressed surprise. "I did not think that was the custom with illustrators, judging from some of the results I have seen." The illustration of books has hardly grown better since that time. When an author has devoted two or three chapters to a description of a mining camp in which his hero and heroine are living, when he has painfully led up to the scene of the proposal, which he takes care to say occurs near the top of a mountain, in the midst of a driving blizzard, it must shock him a little to find that the "famous artist" who has been engaged to draw the pictures, has put both hero and heroine into evening clothes, and shown them standing over a piano in a drawing-room. Just to show complete indifference for the author's wishes, the artist and the publisher print the very words of the proposal under the scene in the drawing-room. Examples similar to this have been seen in many books. Is it that the artist is too busy "illustrating" books to read them, or that he thinks that he can make a prettier picture of two people in evening dress than in any other costume, or did the publisher have that picture on hand and decide to use it for reasons of thrift? It may be that both artist and publisher thought they knew "what the public wants" better than the author, and that the drawing-room scene would help sell the book more than any view of a man and woman in rough clothes. Somebody with a satirical turn once estimated that if five hundred novels were published in this country in any specified time, at least four hundred and fifty of them would have as a frontispiece, or as the picture on the cover or jacket, a view of a young man embracing a young woman. The illustrators might reply that such a scene forms the climax of nearly every novel. Perhaps they are right. The publishers might remark that such a picture is "what the public wants" in its art and in its literature. There are folk who disbelieve this theory. Good book illustration is rare. One of the most popular living American artists sometimes tries his hand as an illustrator. His work is always widely advertised. The pictures are beautiful, but as illustrations they are nearly complete failures, for he ignores the author's work and simply makes a charming decoration. This is almost as much of an affront as it would have been if Mr. Kipling when he wrote "The Vampire" about the painting by Philip Burne-Jones, had gone to the gallery and pasted a copy of the poem across the centre of the canvas. Book illustration should be subordinate to the text, |