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building is open to anybody and everybody. There is no person who walks the streets of Boston who will not find welcome there.""

In his statue in the Public Garden, his benignant smile is lacking. Possibly it was too much for human art to catch and reproduce the beaming, loving seriousness of that face.

However, the representation may be a little more successful than the horrible burlesque of Phillips Brooks near Trinity Church, which is the worst caricature of a joyous, smiling, loving face that has ever been thrust upon an innocent public.

I never pass Trinity Church without steeling my face and looking off at a distance that I may be spared the sight of that monstrosity.

Modern art contends that the smile must be necessarily avoided or it will become a mere simper and destroy all dignity.

Does not the art of our day acknowledge in such a statement its own weakness?

How long did Leonardo da Vinci work to master the smile of Mona Lisa?

Observe also the wonderful smile on the portraits of Franz Hals. These are the deepest bearings of the character and in no case do they detract from its dignity.

Sargent has worked hard to master the technique of this great artist and he is regarded the greatest technician of the present day; but he falls short of Franz Hals in the mastery of the smile.

Recent art has made great advances, especially in landscape. The smile of the fields and the skies is better rendered than ever before. But why neglect the expression of the human body?

Why overlook the transcendent glory of the human face?

After all its great advances, is our art lacking in the ability to portray such an elemental expression as a smile? Has it failed, after all, to attain the simple power and dignity of the Greeks? Is it still too external, mechanical and exhibitional to rise to the dignity of the great masters?

What art school really studies the expression of the human countenance? What art student ever discriminated between gesture, attitude and bearing, or even knew enough about expression to know that there are such things? The modern ignorance of human expression is so great that it extends even to our artists.

The great art school is yet to come: an institution that will study every phase of human expression; one that will recognize that the student of only one art becomes narrow, opinionated and artificial; that to be only a painter is not to be an artist. A sculptor or a performer on a musical instrument may have expert technique and yet be purely perfunctory. He only is an artist who is able to see, as the great masters saw, expression in its different forms.

Expression is far deeper and broader than any of its modes, however important these may be. A mere elocutionist is no better than a mere actor, a mere pianist or a mere painter.

Why can art never have all the dignity, all the seriousness, all the weight, all the faith and love of the human soul embodied in the smile? Who ever heard of an art school studying a smile and its meaning, and trying to realize its beauty?

Once in New York I saw the crowd staring at a man with flowing white hair and a soft hat, who

was passing along Broadway. It was Henry Ward Beecher. His beaming smile of sympathy seemed to be an emanation of intense joy. His whole face seemed to express his pleasure in the doings of ordinary men.

Another remarkable face, which was a delight to everyone who looked upon it, was that of Joseph Jefferson. The simplicity of his character, and his childlike love were in his countenance. Every feature seemed permeated with the spirit of a smile, joy and contentment, love and admiration for nature and his fellow-men.

It was not difficult for a smile to appear and run instantly all over such a face. The smile seemed to be hiding beneath his features. To print one of his stories never satisfies one who heard him tell it.

Once when about to buy a farm in New Jersey he asked the owner whether the water would not all evaporate through such gravelly soil. The old farmer replied that, on the contrary, the soil would not only hold the water, but would draw water by something which from the farmer's lips sounded like "caterpillary attraction." In telling a story, Jefferson never laughed. His countenance only beamed with the spirit of joy and laughter. You felt laughter not only as an attitude but more as a perpetual bearing, showing a joyous outlook upon life, a point of view full of affection and tenderness for everything and everybody.

Such examples as Henry Ward Beecher on Broadway, Phillips Brooks, Edward Everett Hale and Dr. Holmes crossing Boston Common; Jefferson, Gladstone in London, John Bright in Manchester indicate how certain men may wear, in their ordinary intercourse with their fellow-men, a

smile which expresses a deep childlike trust that, as Plato puts it," the eternal is true and good."

This habitual bearing must be carefully distinguished from any affected attitudes of the face.

The true bearing can be seen only when the man is alone or in his home or among his most familiar friends, for a bearing is always involuntary and unconscious.

Some men in business affect a cast-iron unchanging smile which is the same for all occasions. You feel that it is not a true bearing but a mere affectation based on selfishness. You feel that they are only trying to bias your judgment to get your money.

The smile, even when it is a bearing, is full of life and vigor. It changes in all sorts of ways, it kindles with another's thought, is always sympathetic, is never dominating but based on love. You find it is all your own. Certainly there is not the least affectation about it. The true smile, as a bearing, seems ready for communion, for enjoyment. It suggests a spirit looking for good things, for beautiful things; looking for somebody to help, somebody with whom he can share the joys of life. The right kind of smile, born of a sympathetic attitude, born of true gladness at meeting every stranger, is one of the fundamental requisites of all truly great men.

Some assume a smile when in society. Everyone feels that this is unsatisfactory. One has an intuition that this is not the habitual, daily smile of the individual, but is involuntarily forced beyond the real heart's feeling. This forced smile, or pretence of being pleased, is one of the great causes of the degradation and the superficiality of human character.

Of course every person should be pleased to meet his fellow-men, but this pleasure can be easily forced and pretended when it is not the real feeling. Here we find the very basis, the very start of superficiality and hypocrisy. Many assume an artificial and affected smile in the attempt to appear at ease. But it is only the love and joy and a generous sharing in the life of others, expressed in a certain emanation in the face, a readiness to smile, that puts one's self and others at ease. We achieve ease of bearing only when we are perfectly honest and direct, when we have learned to respect both the highest and the lowest as members of one great family.

The antithesis of ease is awkwardness. It is awkwardness that is most feared by the society woman. One of them has said, "Awkwardness is never forgiven in this world or any other."

May we not learn a lesson regarding awkwardness from the study of the smile?

It is through the smile that awkwardness first vanishes. Awkwardness is born of fear,-the fear of doing the wrong thing. It results from not feeling at home, from not being able to come into touch with others. The true smile expresses grace and repose.

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