Mr. Francis Henry Taylor, Director Metropolitan Museum of Art New York 28, New York Dear Mr

RECEIVED

JAN 2 3 1953 January 21, 1953 -aKfiCTOB

Mr. Francis Henry Taylor, Director Metropolitan Museum of Art New York 28, New York Dear Mr. Taylor: On behalf of the Canajoharie Library and Art Gallery, we wish to thank you for making possible the visit of Mr. and Mrs. Gardner here last week. The visit was most helpful to us, and we appreciate the assistance and recommendations given by Mr. and Mrs. Gardner. I want to reiterate again our appreciation for your cooperation. Yours very truly,

Edward Moore President EMrlmf THE METROPOLITiVN MUSEUM OF ART INTERDEPARTMENTAL MEMORANDUM RECEIVED

To F. H. Taylor January 19, 1953 JAN 20 1953 From A. T. Gardner olKECTOK

On Wednesday afternoon of last week, Mrs. Gardner and I went to inspect

the art gallery at Canajoharie, New York. We spent the entire day Thursday

in the gallery and storeroom and saw approximately 250-500 paintings. We

.also saw more paintings belonging to the Art Gallery which are used to

decorate the local Old Ladies Home, the Canajoharie Hotel, and the Beechnut

Company Plant (from whence all blessings flow).

The collection is very good in a spotty way and until the last few years

purchases were all made by two members of the Arkell family which controlled

Beechnut and also the other local industry, Smith and Arkell Paper Bag Company

(known as "the Sack Factory"). Until recently the chef d'oeuvre of the

collection was considered to be the full scale copy of Rembrandt's Night

Watch. This takes up one whole wall of the gallery - miscellaneous architecture

fills the opposite wall, leaving only two walls for the exhibition of the

collection of American Paintings. The whole Art Gallery Committee and the

President and the Curator are all new and they asked a million questions

about running an art gallery which we answered to the best of our ability. It

looks like a promising set up but they are still hampered by descendants of

the founders and very little money. We suggested they sell at auction the

duplicates and dogs and use the proceeds as the beginning of an endowment

fund. The Committee paid all our expenses.

P.S. They also own what is supposed to be Rembrandt's easel - in my judgment

an 1880 parlor job of carved bog-oak. Edward Moore, Pres. Art Gallery Committee (Beechnut vice Pres, Purchasing?) Miss Susan Elithorpe (sister of President of Beechnut) Mrs. Roger Smith (wife of official of Smith & Arkell) Everett Dievendorf (Insurance) Thomas Vharmby (employee of Beechnut) Curator of Gallery NICHT LETTER Kirch 25, 1954

MR. JOSEPH S. HUTCHISON, DIRECTOR CANTON ART INSTITUTE 1717 MARKET AVENUE NORTH CANTON A, OHIO

CONGRATULATIONS OM THE CIVIC SPIRIT VHICH HAS MADE POSSIBLE THIS NOT A-LF EXPANSION OF THE CANTON ART INSTITUTE THE MFTROPCLIT SEW OF kSS SENDS GREETIHGS AND GOOD VISHES AND HOPES THAT THE NEV BUILDINGS AND TNCRFA.SFD ACTIVITIES OF THE INSTITUTE MAY BE A CONTINUING SOURCE OF PRIDE AND SATISFACTION TO YOUR COMMUNITY

FRANCIS HENRY TAYLOR CANTON ART INSTITUTE 1717 MARKET AVENUE: NORTH CANTON O H

RECEIVED

March 23, 195*+ 5 1954

Mr. Francis Henry Taylor, Director The Metropolitan Museum of Art Fifth Avenue at 82nd Street New York, Nev York

Dear Mr. Taylor:

Friday evening, March 26. at. 8 f .M.. the Canton Art Institute, a nineteen year old hinderlane?1 Art Center, will open and dedicate its Fry Memorial Gallery, Auditorium and Library. This event marks the dedication of a memorial to John Hemming Fry and Georgia Timken Fry, American artists of some repute.

The new work includes a large gallery, (to house the ^+5 painting and bronze Fry collection) auditorium and a library gallery room to house the library of art assembled by the Frys, an elevator, fire escape - and other renovations to our H. H. Richardson 'ish' Romanesque fortress building. The project involved an expenditure of fifty thousand dollars per capita wise that rivals your own renovation program.

Would appreciate a congratulatory word from our big sister institution on the Atlantic Shore - even collect.

Sincerely,

//y Joseph S. Hutchison / Director

JSH:pm t '•-? 1933

t«pb S, tbon, Cirsoter 1717 »rth,

ltchi* &i

I b«v« ettb#r . ue

; . A. a "tply trt will not b& av ioaa ri ol . cL we arc im -, urating aic. I ba-1 at trilis t: - .

i Ia/lor Dir. June 7, 19-49

Mr, E. Milby Burton, Director The Charleston Museum Charleston 16, South Carolina

Dear Mr, Burton*

Marshall Davidson has given me your letter of May 27th, The Museum has at the present moment certain regional long-term loans: Springfield Museum of Art, Massachusetts; Dayton, Ohio} Colorado Springs; Richmond, Virginia; Santa Barbara, California, There probably will be similar deposits made in Portland, Oregon; Dallas, Texas; Omaha, Nebraska. Ap plications are pending at New Orleans and now yours in Charleston.

The Museum's loan policy is developed according to the following principles. (1) Me have the regular short-term loans for specific objects for a particular exhibition or event, (2) Circulating exhibitions operated through the Board of Education in the High Schools and Junior High Schools of Greater New York. (3) A project now on foot to provide for a period of three years twelve exhibitions to be circulated jointly by the American Federation of Arts aad he College Art Association. (.4) The long-term deposits mentioned above.

I am planning to call a meeting of the curators later on this month to go over all the various applications now pending to see what material there will be available. I hope very much that we can meet your request in this matter and it will give me great pleasure to bring your letter to their attention at that time, I doubt very much if any of this material will be available in any case before the autumn but it is necessary to work out our plans pretty well in advance because there is a great deal of house labor and clerical work involved.

I hear of you occasionally from Josephine Pinckney and still hope that I can make a visit to Charleston.

¥ith kindest regards,

Sincerely yours

Francis Henry Taylor Director cc: Mr. Remington^x April 10, 1946

Mr. S« Milby Burton, Director The Charleston Museum Charleston 16, South Carolina

Dear Mr. Burton:

The complete report of the Fine Arts and Monuments Commission is not yet avail able but will be by the first of July. The person to write to for the report when published is Mr. Huntington Cairns, Secre tary, The American Commission for the Pro tection and Salvage of Artistic and Historic Monuments in War Areas, National Gallery of Art, Washington 25, D» C. He can also tell you what materials are available pend ing completion of the report.

Sumner Crosby can be reached through the Xale Gallery of Fine Arts, New Haven.

Sincerely yours

Francis Henry Taylor Director FOUNDED 1773 INCORPORATED 1915 ®fa> (tttjarleHtntt Mmmm

CHARLESTON 16, 5. C.

March 23, 1946

Dr. Francis Taylor, Director, The Metropolitan Museum of Art, New *ork, N. Y.

Dear Dr. Taylor:

Since my return from Europe, I have been asked by several service clubs, as well as others, to give a short talk on the destroyed art of Europe, and I am writing to ask if any report has been published by the -Hne Arts and Monuments Commission, or if there is any other source material that I can use.

I am wondering if you would be good enough to give me the address of Sumner ^rosby. I had the pleasure of seeing him in London last year.

(ok (tfadb^ ±P %^i a, Sincerely yours,

E. Ifilby Barton, Director

reB/ ftR March 12, 1946

The Right Honorable Winston Churchill ..alaorf Astoria Park Avenu8 and 50th Street New York 21, Haw York

Dear Mr. Prime Minister:

If by any chance while you are in New York you could find tbe time to visit the Metropolis us? ©urn, X Should be most happy to maks any its to suit your con venience. Knowing of interest iu art, it occurred tc »e thsb you might *ish oo visit. m ini'crniaily on Sunday corn ing when tha (I 'lea *re closed to the public. Tbe KuSSUB. does net open until one o'clock on Sua and you fculd have an opportunity! therefore, ci seeing t\ pictures without being inconvenienced by the public. We would, of course, give no publicity to A=uch ft wislt, in cue event oi" your being able to come. If your secre tary would telephone me at the Museum, Rhinelander 4~7690, I will Mice such arrange ments as are satisfactory to you.

Sincerely yours

Francis Henry Taylor Director New York, NY March 21, 1946

Dear Mr. Taylor, I have been asked by Mr. Winston Churchill to thank you for your letter. He much appreciates the kinr^es^ which prompted your invitation, but his time in New York was so limited that he regrets he could not accept. I feel sure you will understand the position Yours sincerely, 7*"

Mr. Francis Henry Taylor, Director, The Metropolitan Museum of Art New York R'C

^ DEC 28 1951

^ UIHECTOB # °*^/C DEl*0^ 3339 MASSACHUSETTS AVENUE UNITED STATES OF AMERICA WASHINGTON 8, D. C.

HO .l6pA6.

THIS NO. SHOULD BE PREFIXED TO THE ANSWER

December 21, 1951.

Dr. Francis Henry Taylor Director The Metropolitan Museum of Art New York 28, N.Y.

Dear Dr. Taylor: I wish to acknowledge your letter of December 20, 1951, and I shall be pleased to forward the communication you enclosed regarding the visit of Dr. Filippo Magi to His Eminence, Cardinal Canali, at the first opportunity, With sentiments of esteem and every best wish of this Holy Season, I remain Sincerely yours,

Archbishop of Laodicea Apostolic Delegate a *-u*v* CITIZENS COMMITTEE FOR GOVERNMENT ARTS PROJECTS THEARTSDEFEND DEFENDTHEARTS

I !2 EAST 19th STREET, NEW YORK CITY ALgonquin 4-9425

HON. STANLEY M. ISAACS, Honorary Chairman • SAMUEL L M. BARLOW, Chairman • ALINE DAVIS HAYS, Sec'y • IRVINE J. SHUBERT, Treas.

NATIONAL COUNCIL KENNETH M. ADAMS October 29, 1942 University of New Mexico JOHN TAYLOR ARMS President, American Society of Etchers Mr. Francis Henry Taylor, KARL OTTO BACH Director, Grand Rapids Art Gallery The Metropolitan Museum of Art ALFRED H. BARR. Jr. THOMAS HART BENTON Fifth Avenue at 81st Street, BORIS BLAI New York City Director, Tyler School of Fine Arts, Philadelphia Dr. G. A. BORGESE University of Chicago Dear Mr. Taylor: LOUIS BROMFIELD Prof. HENRY M. BURLAGE University of North Carolina STUART CHASE Mrs. Fansler has written us about your Dr. WALTER DAMROSCH work with the trade union groups and your exhibitions ROBERT TYLER DAVIS Director, Portland Art Museum and lectures. I cannot tell you how interested we are (Oregon) and how full of admiration for the way you have carried OLIN DOWNES OLIN DOWS on this aspect of museum activities. MARSHALL FIELD RICHARD E. FULLER Seattle Art Museum I have written Mrs. Fansler asking for an appoint Dr. HOWARD HANSON Director, Eastman School of Music ment with her, and also asking if she or one of her as ARTHUR GARFIELD HAYS sistants could come to one of our Board meetings and tell WALTER HEIL Director, M. H. De Young Memorial us the story. Museum, San Francisco Dr. JOHN HAYNES HOLMES The Community Church of New York RICHARD FOSTER HOWARD We are entirely at your disposal, of course, and Director, Dallas Museum of Fine Arts we might be useful in informing your Board about what FANNIE HURST the musicians and writers, radio , theatre, etc. are do HORACE JAYNE Vice-Director, Metropolitan Museum ing; and our Arts in Therapy Sub-Committee might also be of Art. of interest to you. ROCKWELL KENT OLIVER LA FARGE Prof. H. E. LUCCOCK Yale Divinity School Sincerely yours, MALCOLM S. MacLEAN President, Hampton Institute Prof. KIRTLEY F. MATHER Harvard University Dr. FRANK JEWETT MATHER, Jr. WILLIAM M. MILLIKEN Director, Cleveland Museum of Art Samuel L.M.Barlow, President PERRY T. RATHBONE Director, City Art Museum, St. Louis Prof. WALTER RAUTENSTRAUCH ELMER RICE DANIEL CATTON RICH Director, Art Institute of Chicago Prof. GEORGE SARTON f * ».,y < Harvard University HALLEY SAVERY Henry Art Gallery, University of Washington HARDINGE SCHOLLE •--MAC Director, Museum of the City of i New York J. B. SMITH Chairman, Dept. of Art, University of Wyoming CrxxJ , VILHJALMUR STEFANSSON LOUIS UNTERMEYER GEORGE A. WEDGE Dean, Institute of Musical Art, New York ORSON WELLES Dr. MARY E. WOOLLEY President Emeritus, Mt. Holyoke College (over) EXECUTIVE BOARD

JOHN TAYLOR ARMS • SAMUEL L M. BARLOW • ALINE DAVIS HAYS • PAUL MANSHIP • GLADYS MOCK • BERNARD MYERS WALUNGFORD RIEGGER • FELIX SALMOND • HENRY SCHNACKENBERG • IRVINE J. SHUBERT • VILHJALMUR STEFANSSON EDMUND WEIL • J. SCOTT WILLIAMS.

SPONSORS

New Jersey and New York New Jersey and New York CARLETON WASHBURNE, Superintendent. Winnetka Schools, Illinois WAYLANDE GREGORY CHARLES PEARCE ZOLTAN ZEPESHY, Director, Cranbrook Acad MARGUERITE MARQUART, Dir. of Art, New RALPH PEARSON emy of Art, Michigan ark Public Schools HON. JUSTINE WISE POLIER MARY COOKE SWARTWOUT, Montclair Art CAROLINE PRATT, Principal, City and Country South-Western States Museum School WITTER BYNNER, New Mexico LYND WARD JAMES RORIMER, Metropolitan Museum F. A. KLEINSCHMIDT, Texas Technological CARLOS SALZEDO LOUISE LAIDLAW BACKUS College, Art Institute KATHERINE SCHMIDT RICHMOND BARTHE' MRS. HARDINGE SCHOLLE ELEANOR ONDERDONK, Witte Memorial Mu GEORGE BIDDLE HERMAN SHUMLIN seum, Son Antonio S. JOHN BLOCK MARY SIMKHOVITCH BOARDMAN ROBINSON, Colorado Springs PEYTON BOSWELL, Editor, Art Digest LEE SIMONSON Fine Arts Center LOUIS BOUCHE' JOHN SLOAN REV. WM. T. CHASE, Cornell University RAPHAEL SOYER Southern States ROBERT COATES EUGENE SPEICHER ALEXANDER BROOK, Georgia ELODIE COURTER HUGH S. STIX, Artists Gallery MRS. M. CASTNER BROWDER, Jr., Pres. STUART DAVIS ORDWAY TEAD Louisville Art Association DR. NED H. DEARBORN, Dean, Division of EDGAR VARESE LAMAR DODD, Head Dept. of Art, University General Education, New York University DR. J. RAYMOND WALSH, Hobart College of Georgia ADOLF DEHN JANET WALTER ROBERT D. FEILD, Director, Newcomb Art PROF. L C. DUNN School, Tulane University MURIEL DRAPER GORDON BAILEY WASHBURN, Director Al DUNCAN FERGUSON, Louisiana State Univ. MRS. BURTON EMMETT bright Art Gallery, Buffalo ERNEST FIENE MORRIS WATSON EDWIN A. KEEBLE, Tennessee WILLIAM GROPPER MRS. CHARLES WHITMAN PROF. CHARLES LE CLAIR, U. of Alabama ALLEN D. GRUSKIN RUSSEL WRIGHT L PALMER SKIDMORE, Director, Atlanta Art EDITH GREGOR HALPERT Ass'n & High Mus. of Art RUTH GREEN HARRIS New England States MADIE LEE WALKER, Dean of Women, Aver- GEORGE S. HELLMAN PETER BLUME, Conn. ett College, Va. LILLIAN HELLMAN MR. AND MRS. JOHN DOS PASSOS, Mass. ROBERT E. S. WHITELAW, Director, Carolina LIBBY HOLMAN THOMAS M. FOLDS, Art Director, Philipps Art Association LANGSTON HUGHES Exeter Academy INEZ HAYNES IRWIN ROYAL B. FARNUM, R. I. School of Design Middle Western States DR. FRANK KINGDON GUSTAV VON GROSCHWITZ, Wesleyan Univ. PROF. JOSEF ALBERS, Black Mountain Col STEWART KLONIS, President, Art Students HENRY RUSSELL HITCHCOCK, Wesleyan U. lege, No. Dakota League KATHERINE KING JOHNSON, Vermont ANN M. BROWN, Chairman, Art Department, REBECCA KOHUT HERBERT MEYER, Vermont North Dakota State College YASUO KUNIYOSHI ALZIRA PEIRCE, Maine LINNBERGER DAVIS, Missouri MR. & MRS. CORLISS LAMONT WALDO PEIRCE, Maine EARL E. HARPER, Director, School of Fine DR. JOHN H. LATHROP. Church of the Saviour, JOHN SPARGO, Bennington Museum Arts, State U. of Iowa Brooklyn PROF. HENRY PERKINS, U. of Vermont PROF. EUGENE MYERS, State Teachers Col JOHN TREVILLE LATOUCHE JAMES S. PLAUT, Director, Institute of Modern lege, No. Dakota IRENE LEWISOHN, Pres. Museum of Costume Art, Boston MRS. HENRY NESS, Supt., Iowa Art Salon Art PROF. KARL WESTON, William College MR. & MRS. SAMUEL LEWISOHN Western States DR. HELEN M. LYND North Central States DONALD BEAR, California PROF. ROBERT S. LYND SOPHIE A. BOYER, Wisconsin MARTIN FLAVIN, California ELIZABETH McCAUSLAND RICHARD O. BOYER, Wisconsin OLGA ROSS HANNON, Head of Art Dept., PROF. WILLIAM M. MALISOFF GERTRUDE ELY, Pa. Montana State College PEPPINO MANGRAVITE MRS. BERTRAM I. De YOUNG, Pa. THOMAS C. HOWE, JR.,. Director, California DAVID MANNES MRS. BRUNO V. BITKER, Wisconsin Palace of Legion of Honor MR. & MRS. GEORGE MARSHALL HAZEL KING, Allen Museum of Oberlin LUCIEN LEBAUDT, Director, Lebaudt School LILLIE STEIN MAYER L. MAHOLY-NAGY, Director, Chicago Schoo, of Costume Design, San Francisco. JO MIELZINER of Design EVERETT C. MAXWELL, Director, Foundation KENNETH HAYES MILLER JOHN D. MOORE, Michigan of Western Art, Los Angeles MRS. LUCY SPRAGUE MITCHELL, The Bank PROF. WILLIAM A. NOYES, U. of Illinois PROF. ROBERT OPPENHEIMER, U. of Calif. Street Schools CARLOTTE R. PARTRIDGE, Director, Layton REGINALD POLAND, Director, Fine Arts Gal RITA W. MORGENTHAU Art Gallery, Milwaukee lery of San Diego CLIFFORD ODETS ROSCOE PULLIAM, President, Southern Illi MARGERY H. SMITH, Portland Museum of Art ANNA W. OLMSTED, Director, Syracuse Mu nois Normal School BRANSON G. STEVENSON, President, Great seum of Fine Arts DUDLEY C. WATSON, Art Institute, Chicago Falls Art Center, Montana

357 C 4*-'

June 5, 1941

Mr. Henry Scbnakenberg, Citizens* Cosaittee for Government Art Projects, 347 Fifth Avenue, (Room 1302), Hew York, I. Y.

Dear Mr* Schnakenbergj

I have been out of town a groat deal or I should, before this, have answered the letter froia the Citizens* Coasalttee for Government Art Projects, (the on© signed by Mrs. Hays and countersigned by yourself).

In view of tbe fact that I as a consultant to the Director of the Federal Art Rejects in Washington, and am also the repi .Uative of Mayor LaCnardia for the $.?«A. Art Projects sponsored by the City of Hem lork, it seems to sse that I should not also become a sponsor for your Coiaiaittee.

I have no doubt that sooner or later the problem of the Federal Art Projects mist be reviewed to determine where relief should end and art begin, and of course when the whole subject is placed u>on the basis of quality the issues in respect to personnel will be clearer, nevertheless I hope there will be a substantial continuance of Government Art Projects and that any necessary curtailx3ent will isork as little hardship as possible to ariy individual artist.

With best regards, believe a©

Very sincerely yours,

/,,.<--• Francis Henry Taylor, Director.

Fnrr:* ^CITIZENS COMMITTEE FOR GOVERNMENT ARTS PROJECTS

347 FIFTH AVENUE (Room 1302) NEW YORK CITY • MUrray Hill 5-5665

HON. STANLEY M. ISAACS Chairman ALINE DAVIS HAYS April 19, 1941 Secretary RECEIVED SAMUEL L M. BARLOW Treasurer APR 23 1941 SPONSORS My dear Mr. Taylor: ALFRED BARR DIRECTOR ALINE BERNSTEIN You know to what extent the Government GEORGE BIDDLE ANITA BLOCK Arts Projects have benefited American Art, the public and S. JOHN BLOCK the individual artist. PROF. HENRY M. BURLAGE STUART CHASE DR. WALTER DAMROSCH Now the Arts Projects are in grave danger. ADOLPH DEHN OLIN DOWNES On July 1st, the new budget for the year 1941-1942 OLIN DOWS will go into effect. The entire sum asked for by the Presi MURIEL DRAPER GERTRUDE ELY dent is, at best, 25% less than last year's appropriation MRS. BURTON EMMETT for the "W.P.A. The present budget may be cut by Congress RUTH GREEN HARRIS and the amount allocated to the Arts Projects may be so ARTHUR GARFIELD HAYS reduced as to render them practically ineffectual. Against GEORGE S. HELLMAN LILLIAN HELLMAN this we must work concertedly and with speed. MRS. RALPH HOLMES LANGSTON HUGHES Yfe believe that in the fervor of our concentration upon FANNIE HURST armed defense,, we would be ill-advised to lay aside any of ROCKWELL KENT DR. FRANK KINGDON the normal, important peace-time activities of our national JOHN LATOUCHE life, when such abandonment would not directly serve prepared IRENE LEWISOHN ness. The Arts Projects are not of a nature to permit of PROF. HALFORD E. LUCCOCK OLIVE LYFORD their being laid aside in prospect of resumption in more PROF. ROBERT S. LYND peaceful times. Their abandonment would be an irreparable MALCOLM S. MACLEAN loss to the cultural life of America. PROF. WILLIAM M. MALISOFF PAUL MANSHIP MR. & MRS. GEORGE MARSHALL Yfe have started organizing a nationally representative PROF. KIRTLEY F. MATHER Citizens Committee to promote the Government Arts Projects. LILLIE STEIN MAYER ELIZABETH McCAUSLAND By using our united influence, the great work which the JO MIELZINER American Government has begun can be continued and advanced. MRS. LUCY SPRAGUE MITCHELL Knowing what you stand for in your community, we urgently PROF. WILLIAM ALBERT NOYES request you to become one of our sponsors. CLIFFORD ODETS PROF. ROBERT OPPENHEIMER RALPH PEARSON Yours very truly, PRES. ROSCOE PULLIAM PROF. WALTER RAUTENSTRAUCH ELMER RICE THE CITIZENS COMMITTEE FOR GOVERNMENT ARTS PROJECTS DR. GEORGE SARTON HENRY SCHNAKENBERG HERMAN SHUMLIN LEE SIMONSON LOUIS UNTERMEYER MRS. EDV/IN B. WALTER LYND WARD (Mrs.) Aline Davis Hays, Secretary CARLETON WASHBURNE MORRIS WATSON DR. MARY E. WOOLLEY r RUSSEL WRIGHT » ASSOCIATED MUSICIANS OF ^~r GREATER NEW YORK, Local 802 UNITED AMERICAN ARTISTS, Local 60 S^/Z/Z**^ ^.

January 27, 1947

Mr, Francis Henry Taylor, Direotor Metropolitan Museum of Art Fifth Avenue at 82nd St. New York 28, N.Y. Dear Mr. Taylor: The drive for funds for the new Sculpture Center is about to be renewed. It is only by the grace of a building materials shortage that we still remain at our old stand. Tills respite however can hardly last very much longer. If this sculpture organization is to survive and carry on with its aims, sufficient funds Tor a building are imperative. It is found in approaching prospective donors that the endorsement of our purposes and program by persons prominent in the art world is an important factor in their decision^ns . For that reason we are writing a number of museum directors and other authorities requesting a letter of endorsement of the purposes and past performances of the Clay Club and of the potentialities of a Sculpture Center. Such a Center would serve the sculptor through a well-equipped, cooperative studio and exhibition gallery. It would also serve the general public by exposition of not only the sculptors' work but the manner of execution as well. Such a letter will be used exclusively for personal contacts and will not be published. Furthermore, the names of the endorsers will not be listed as such in publications. Should you feel inclined to send such a letter of endorse ment, it would greatly help our cause and receive the grateful appreciation of the undersigned and all the members of our organization. Sincere^ yours,

-C^tJLJ&L&^S

Dorothea Denslow, RFCEivEO Director JAN 29 1947 r INTERNATIONAL LADIES' GARMENT WORKERS' UNION AMCtlCAN FEDERATION OP I A B O . • 1710 BROADWAY » NEW YORK 19, N. Y.

CABLE ADDRESS: ILGWU — NEW YORK • PHONE: COLUMBUS 5-7000 Januai^^^

DAVID DUBINSKY President JAN 1 119 General Secretary LUIGI ANTONINI Mr. Francis Henry Taylor DiKkCiUH Fint Vice-Pre*ldent Director FREDERICK F. UMHEY Executive Secretary ivletropolitan Museum of Art Fifth Ave.& 82 St.

General Executive Board MORRIS BIALIS Dear Mr. Taylor: JOSEPH BRESLAW MAX COHEN ISRAEL FEINBERG I want you to know how much we appreciate the courtesies, DAVID GINGOLD interest, and assistance we received from your museum. HARRY GREENBERG JULIUS HOCHMAN Here is one example. When our Educational Department planned BENJAMIN KAPLAN the ILGWU Student Fellowship Reunion, we were eager to hold it PHILIP KRAMER CHARLES KREINDLER at your Museum, but the cafeteria was so crowded that the manage LOUIS LEVY ment could not promise, as on previous occasions, the private JOHN S. MARTIN dining room. JENNIE MATYAS EDWARD MOLISANI v/e were about to arrange this gathering in another place, ISIDORE NAGLER SALVATORE NINFO but your staff did not allow us to do so. ^ith your permission, SAMUEL OTTO they offered us the room of your Board of Directors for the MEYER PERLSTEIN Reunion. As a consequence, this affair turned out to be one of GEORGE RUBIN the most successful gatherings of our Student Fellowship. The LOUIS STULBERG attractive room, the attention we received from your staff, and HARRY WANDER CHARLES S. ZIMMERMAN the fine food that was served, and Mrs. Blanche Brown's lecture all contributed to making this reunion an inspiring affair.

May I, on behalf of the Arrangements Committee of our Student llowship, and on our own behalf, express our gratitude to you for your cooperation? We are especially delighted that this attention was received from a Municipal institution. It makes our members aware as to what an enlightened community has to offer to its citizens to make life more pleasant and meaningful.

May I repeat that I do hope that the planned extension of the Museum will have rooms with capacities of 100 and 200?

Best wishes for a happy and fruitful future/

Sincerely yours,

^FAHNIA M. C0HN, S efcretary dueational Department

fmc P. S. The Reunion was held at your Museum on December 3, 19h9

426 y WORKERS' EDUCATION

IN A TROUBLED WORLD

BY FANNIA M. COHN Secretary, Educational Department International Ladies' Garment Workers' Union

Our Speech, Unless It Makes Its Meaning Clear, Will Fail To Perform Its Proper Function. ARISTOTLE

Ten Cents

187 WORKERS' EDUCATION IN A TROUBLED WORLD

ORKERS'-ADULT education is assuming spe cial significance in a troubled world in which W new social values and traditions are emerging. New interpretations are given to old concepts of right and wrong. Suffering mankind is trying to find peace From experience ive know that the and unity through the United Nations. The director and teacher in workers' education must ever be con workers are seldom unintelligent, but scious of the fact that it was the disappointment, the depression after the first World War that swept often uninformed or misinformed. a Hitler into power. The labor movement is coop erating with other enlightened groups in the com Workers will make sacrifices for munity and the nation who have confidence that we ideals, provided they understand can, through democratic processes, correct political and economic abuses, thereby making an economic them. It behooves the labor move depression impossible. ment through Workers' Education The labor movement learned from world events that no nation can stand by itself. Oceans are no longer to make the information available safeguards for a country. Depressions, just as plagues, respect no borderlines. The economic and social health and the ideals understandable. of each nation depends upon that of the others. The interdependence of nations was well established by two World Wars. What place then has the teacher in Workers' Educa tion? A very important one indeed! The fundamental aim of workers' education cannot be realized unless the (Printed in 1949) movement has the services of a proper staff of teachers and lecturers. Workers' education is in a sense general adult education but the labor movement has important problems of its own to solve. It is a significant social institution in an industrial society. Activities of the labor movement are branching out into many new fields. Therefore, its constructive social approach to problems on the community, national, and international level depends upon the workers' intelligent under standing of these problems. Thus, the background of INTERNATIONAL workers' education is a living, ever-changing labor LADIES' GARMENT WORKERS' UNION movement. Workers' education aims among other things to assist in the democratic processes—to help prepare the workers to function intelligently, crea Educational Department tively, effectively as members of the labor movement and as citizens of the nation. 17 10 BROADWAY Many who missed the opportunity of obtaining a formal education frequently become more enlightened NEW YORK 19, N. Y. citizens than those who received systematic schooling, m by taking advantage of workers' or adult education. in the discussion group may become a teacher in the Thus, creative enlightenment is not dependent upon shop, mill, and factory. Because people will listen to formal learning. an imaginative person who can support his arguments with well-established facts, such a person will help to What the Teacher Must Know create, in the shop, an intelligent, constructive, creative The teacher of, or lecturer to, workers, to be effec public opinion. tive, must have a knowledge of the labor movement, Because effective constructive action arises from its history, problems, economic and political policies, understanding, emphasis should be placed by the principles, and ideologies. Equally important, he should teacher upon interpretation and discussion. Workers be acquainted with the problems of the union to which will then learn to look behind the headlines to get a the worker-students belong and of the industry in perspective on important happenings. which they are engaged. He should likewise know something about the social and cultural background of There is another aspect to workers'-adult education. his students. Otherwise, his approach is likely to be The subject under discussion must be humanized and too theoretical and abstract and will have little relation clearly and vividly related to every-day problems to the living labor movement. He will then fail to and ideas whether it be economic, social, political or carry conviction with the group and the students will psychological. "run away" with the class. Descriptive Titles An experienced teacher knows that it takes much The importance of a stimulating, descriptive title more skill to instruct organized workers than college for a series of discussions or of a single topic students. In the institutions of higher learning the cannot be overemphasized. When our Educational teacher deals with young people who are preparing for Department planned a course in economic, polit life and who devote their entire time to learning; but ical, and social history of the United States, it was in union classes he must teach people who are active entitled, "Our American Civilization". Recently, when participants in life, and who come to the classes after we planned a course in the "American Labor Move a hard day's work. ment Today" we called it "What Are the Changes Occurring in American Civilization?" This title What an Effective Teacher Must Know served a double purpose. It was a discussion of the An effective teacher, especially in adult education, origin, development, and unique character of American must have an understanding of human nature and a civilization that was built by the common man; at the capacity for lucid expression. A true teacher must same time it was an analysis of organized labor's realize that the most interesting thing in the world is origin, development, its present role in our economy as people, and that each person possesses a quality of well as its entrance into the political scene, both on a his own. national and international level. When we wanted our people to participate actively in the political life of the The effective teacher must also be a friend. "How nation, we conducted a series of discussions entitled shall a man learn save from one who is his friend?" "How Our Government Works". Similarly, when we wrote Xenophon, the .Greek historian. The teacher, planned a discussion on economic geography, we therefore, should ever encourage his or her students entitled it "The Economics of Our Modern Civiliza to develop other innate qualities and should keep an tion". A connotative or expressive description of the eye and ear open for promising young people who have course is invaluable in attracting students. the ability for leadership. There is need for leadership not only in the headquarters of an international union Length of the Series or a local, but in the shop, mill, and factory. Who can tell? There may also be among his students the future Another important element is the length of the outstanding leaders of the labor movement. series. The shorter it is, the more likely workers are to join the discussions. Therefore, we have found it Many persons learn from contact with well informed, advisable to limit most of our series to five sessions. imaginative people more than from books. A student Each session should be a unit within itself. The first 1-53 session should be a stimulating introduction to the of its aspects. He should focus attention on interesting four following discussions, which will inspire the points to stimulate and encourage intellectual curi student with an interest in the subject. The conclud osity. This should be followed by questions. ing session should be devoted to an analysis and sum In the I.L.G.W.U. Educational Recreational Center, mary of the previous discussions. A similar approach we follow the discussions with recreational activities applies to single lectures or discussions. —thus blending education with play. Many teachers and lecturers find that an effective ) method in arousing intellectual curiosity of an adult How to Encourage Students audience, who come to the discussion tired after a Questions must be carefully guided by the teacher day's work, is to begin with a summary of the topic to prevent the classroom from becoming a debating of the day in a fluent and suggestive form. When the society. Students resent it if after a hard day's work, teacher succeeds in interesting the audience in the their time is taken up by "show-offs". Some teachers general idea of the subject, he can then proceed encourage their students to interrupt them with a successfully to discuss the specific. question if the point is not clear. The particular pro Once the interest of the students in the subject is cedure in handling questions will largely depend on the aroused, however, it is possible to extend the length of character of the individual teacher and the student. the series. At the conclusion of the fourth session, The teacher should encourage the students to put therefore, the teacher, after consulting with the person down on paper their own ideas as well as the facts in charge of the educational activities, should then learned from the discussion. This is an excellent consult the students as to whether they wish to extend means of organizing the students' thoughts. However, the series and should suggest subjects for further the teacher must bear in mind that in a workers' class sessions. most of the students will not take too kindly to this It is advisable that the teacher prepare for each suggestion. No undue pressure should be brought to session a one-page descriptive summary in outline bear as this may embarrass the students and lead them form, which should be mimeographed and distributed to drop out. to the audience. It should include recommendations It is far more important that the students under for reading material such as books, pamphlets, articles stand a few well chosen points than that they cover a in newspapers and magazines, etc. The outline serves great deal of ground superficially. Above all, the a double purpose. First, the students find it helpful in teacher must guard against the student's leaving the following the teacher as he develops the subject matter discussion room with mere slogans or vague terms. and as a "refresher" afterwards. Second, in drawing The adult student must carry away from each dis up the outline, the teacher can fit the lesson to the cussion a few new ideas and a better understanding of needs of the specific group. After the session, the existing facts. Before closing any session, the teacher teacher should revise the outline in accordance with should have no doubt in his mind that the students the trend of the discussion. In this way scholarship is thoroughly understand the subject. linked with experience and theory with tested facts and practices. The result is a collective achievement As important as information and facts are, it is of of student and teacher. Because of the limited time still greater significance for the student to gain con at the workers' disposal, and also because there are fidence in his own ability to concentrate, to think very few books available that worker-students can through problems for himself. A good teacher will use that bear on their discussion, our Educational help the student develop his abilities of observation, Department found these outlines filling a real need. analysis, and interpretation. Then the students' experi To avoid staleness in their approach, teachers and ences will be meaningful. lecturers frequently refrain from using the same The teacher with an understanding of psychology outline twice. will impress upon his audience the fact that workers' As far as possible, a session should be limited to one education, and adult education generally, is equally hour. During the first thirty minutes the teacher important for young and old. The young people will should present the problem or topic and develop some be impressed by the fact that this form of education 161 m will help develop their innate talents, enrich their erated and contributed to the building of the American lives, give them a better understanding of their world civilization, they also developed regional traditions, and enable them to analyze important problems; that customs, and habits. It is of utmost importance that as a direct consequence they will be more respected by in a program of workers' education should be included their union, their friends, and by the community. The a study of America's diverse character. older worker will be impressed by the fact that Our country is both highly industrialized and agri workers' education (and adult education in general) cultural. It is important, therefore, to include in a blended with his experience will keep his mind alert program of workers' education a discussion of the and receptive to new ideas, and thus make him more psychology, social and political behavior of our farmer responsive to the needs of his time. Therefore, the population. younger workers with whom he comes in contact will A study of the United Nations and UNESCO is seek his counsel and respond to his advice, and what is important. more important, he will be respected by his family, and A teacher must guard against departmentalization by his younger fellow members. Thus the appeal in of the social sciences. For instance, he should not adult education should be both personal and social. artificially divide economic, social, political, and cul tural history. Rather, he should emphasize the inter PLANNING A PROGRAM dependence of these various disciplines. The workers have learned from experience that economics cannot In planning a program, care must be taken that the be separated from politics. topics balance each other. For example, if the first series deals with the social sciences, the second should I wish to make the following suggestions: No be cultural in character. A short period of singing is teacher should teach the social sciences or any other most desirable, because it enlivens the students and subject to workers unless he is thoroughly prepared for creates a friendly atmosphere. We suggest that rec this job. Some teachers make the mistake of thinking reation, literature, and art should be included in a that they can discuss the labor movement in a workers' balanced program. class on the basis of mere academic preparation, where as the labor movement is not merely a branch of the Learning and Playing social sciences, but a living, constantly changing sub Wherever possible, learning should be combined ject in its own right. It deals with nothing less with playing. Recreation that is effective, charming, important than the very lives, struggles, and aspira and informal should be encouraged and given an tions of millions of men and women who work con important place in a program. sciously or unconsciously for a better world and a happier life for all. What the workers want most is From experience, we know that recreation wisely security. More and more people have come to believe chosen, serves as an important method of developing that in our industrial society, democracy as we know mind and body and of giving our imagination full play. it and security are interdependent. Therefore, the It is also important not only from the standpoint of teacher must supplement his book knowledge of the health, but also because it inspires a cooperative labor movement by keeping in constant touch with the attitude and develops friendships. Recreation intel men and women who are a part of the living movement ligently conceived and directed, stimulates a hearty, itself. Thus, the teacher must be willing to place him healthy response to life, a sense of the joy of living, an self in the position of a student in order to become urge to make education a process of play and to make more effective. play itself an educational experience. In one evening, These general suggestions were prepared in response a well-balanced program, such as developed at the to requests from many teachers, but they should be I.L.G.W.U. Educational-Recreational Centers, includes adapted to the needs of the particular group. The a discussion in the classroom and a recreational pro principles, methods, and approach outlined above for gram in the gymnasium. teachers can be applied with equal benefit by the Our country is of continental dimensions. It is lecturer and the speaker. inhabited by descendants of many races, nationalities, An adult must leave the discussion room with a cultures, and religions. While all these people coop- deeper understanding of ideas and events. m Literature fully worked out with the educators who take part in Workers' education develops new attitudes and the discussion so that each speaker will cover different greater appreciation of the best in literature. Good phases of the general problem. books make us sensitive to the sufferings of others, The experienced teacher realizes that the main and make us realize that we all belong to the human objective of adult education, of which workers' educa family. There is no room for exploitation; humanity tion is a branch, is to eradicate economic, political, and cannot advance as long as civilization depends on the social illiteracy. Such an understanding is most essen well-being of the few. tial for intelligent participation in public affairs and Good literature reflects the minds and conditions of no less for the safety and extension of our democracy the period. The real artist, the enlightened publicist, in a troubled world. and commentator are, many a time, the modern The experienced teacher and lecturer also realize prophets. They criticize most what they cherish most. that the problem is not merely that of imparting infor They issue warnings that unless we correct defects, mation, but of making the adult student vividly aware right injustices by eliminating their causes, we shall of the situations that face him, as an organized worker pay dearly for our neglect when it may be too late and citizen of our democracy, in an everchanging to act. world. The teacher must also impress upon his students Their appeal is directed to mind and heart. The the importance of using their newly acquired knowl artist does not believe that by denying facts we cure edge intelligently, discriminatingly, and effectively for them. His role is a critical and a progressive one. the good of the labor movement, the community, and the nation. Thus, the enlightened worker will strive Art through the efforts of his union and the larger labor The enjoyment of art, in all its forms, should be movement to translate the higher ideals of humanity made available to all. The appreciation of art by the into a dynamic program of action. workers can be stimulated in two ways; either in the The best response and cooperation from the worker- lecture hall or by the case method. students can be achieved if they feel that while the The case method is being applied by the I.L.G.W.U. teacher understands their minds and sympathizes Educational Department. This is how it is being done: with their aspirations, he approaches their problems a guide conducts weekly trips to museums and to realistically. historic and scenic points. There, the workers, with Finally, it is the aim of workers' education to be of the assistance of a specialist of the institution visited, assistance to the organized labor movement in en derive a lasting impression based upon experience and couraging initiative, thinking, and creative, construc observation. They can then grasp the dominant motive tive action that will tend to create new social, esthetic in our culture. and cultural values—the challenge of a troubled world. This also includes attending symphony concerts, good plays, and motion pictures of significance. EDUCATIONAL DIRECTORS The success of a workers' educational program The Teacher's Role as Interpreter depends largely on the Educational Director. What adults expect most from the teacher in these Young people frequently inquire, "What qualifica troubled times is that he interpret problems and tions are required for an educational director?" Here important happenings, and analyze and clarify trends, are a few observations: whether they be social, economic, political or cultural. The Educational Director must be an energetic, Such a discussion will lead to a conscious experience dynamic person. No statement of method or quality which will be helpful in other situations. All aspects of of procedure can take the place of initiative, imagina American civilization should be thoroughly analyzed. tion, devotion, persistence, and a spirit of real enthu In the I.L.G.W.U., panel discussions proved one of siasm. One must be a crusader. He (or she) should the most effective ways of making an audience aware look to the workers, whose activity he is directing, for of important problems. However, these must be care- inspiration and encouragement. The union and the C101 [11] WORKERS' EDUCATION

IN A TROUBLED WORLD

B Y FANNIA M. COHN Secretary, Educational Department International Ladies' Garment Workers' Union

Our Speech, Unless It Makes Its Meaning Clear, Will Fail To Perform Its Proper Function. ARISTOTLE

Ten Cents

187 25 Hevenber

Mr* Wilson Parkhill Colic Ol 243 '- 77th Street Sew York 84, n, 1. Dear Mr. Par'&hiJLli Letts 14 November 1946, addressed to Mr. Taylor, insofar aa it pertains to the revised schedule of rental fees for the Lending Collections, has beea referred to ne, Ae you are doubtless aware, all endowed institu L«^iag the luseum are • ,ei wit A problems of diminishing income fro® investment.* rising costs. Our problem has hecoiae so critic*.. 1 that the Trustees m vxprt considerable concern over the recurring operating deficit, and it has becor to take sent Step* to jseet tbe situation i at et the s&me tloe eliminating any essentia. services which the I 'ic. Th© revised schedule of rentel fees is one of those steps, which was taken only after t. reful consideration o? all, the relevr factors• I would liko te assure y vised sche la j tbe activities of the Leading Collections are not self-supeorting. We naturally regret that it was not peas: to gj otiee of the change, but It was an emergency measure designed to meet an emergency situation* I trust that you will endeavor to understand position in which we find ourselves. Very sincerely yours,

Dudley T. Easby, Jr. Dudley T. Easby, 3t* Secretary 6

November 21, 1946

Mi. lULson Parfcai. Collegiate School *4i iest 77th Street iMew 1'ork 24, Mew York i>ear Mr. rarkhilli

lour !•- -t-4

'^./ ne urn u beaau he nes been confined a - hone eoi4 of -e. 1 have been expectii Cf Dull been te hi.. ac 1 have a Sited Mr. -v of th kuseuai, to reply tc th deh refers to fees eha: i been dling all sinilar in- riee. I'te ,ter OJ an ip 11, o£ course, h ho he I i Mr. lay lor is baok in th. Lee again.

Score to Francis Henrj Fay-tnir J> J. i C- A. ..' w' L FOUNDED 1638 COLLEGIATE SCHOOL 2-41 WEST SEVENTY-SEVENTH STREET

NEW YORK 2-4, N.Y.

WILSON PARKHILL. A.M. HEADMASTER

November 14, 1946

Mr. Francis H. Taylor Metropolitan Museum of Art 82nd Street and 5th Avenue New York City

Dear Mr. Taylor:

I was distressed last night to learn about the plan for the payment of fees by private - independent schools.

Since it seems to me that there may be a misunderstanding on our part or yours about the function of a museum such as the Metropolitan, I should like to talk with you about it.

At the same time I should like to talk with you about John and his plans for next year.

Sincerely yours,

NPV 1 ^ 1W6

W.^i&wl COTY

CHAI RMAN 73O FIFTH AVENUE OF TH E BOARD NEW YORK I 9, N.Y.

October 19, l$^k

Dear Francis:

It is rather difficult for me to tell ocU2t96* you how greatly I personally appreciate your contribution to the American Fashion Critics' Award, and that of our co-host, The Costume Institute of the Metropolitan Museum of Art.

I realize that without your help we could not have been successful in making a very wonderful contribution to costume art as well as to modern fashion.

I am enclosing herewith an editorial which appeared in the New York World-Telegram and Sun of October 18th, and I hope that you will accept my deep personal appreciation.

Sincefely yours,

Mr. Francis Henry Taylor Director Metropolitan Museum of Art Fifth Avenue and 82nd Street New York City, N. Y. A SCRIPPSHOWARD NEWSPAPER. ROY W HOWARD, Editor. LEE B. WOOD. EwcutiM Editor. N. $. MACNEiSH, Business Manager. Phone BArclay 7-3311. I Subscription r»(« postpaid ,n the United SUtes $20 per ym Owned tno published tteily except Sunday by New Ytvfc Wo*.*- Telegram wporat'Ofl. Mam office, 125 Barclay St. (15> Entered as secmd class matter, Pou Office New York, N. Y 'Give Light & the People Will find Their 0

The Coty Award. Presentation of the 12th annual Coty American Fashion Critics Award last Monday in the Metro politan Museum of Art was still another indication that this country's fashion design is coming into Its own as an art In the 12 years since the founding of this award, it has become recognized as one of the most coveted honors in its field. And with its growth in prestige has come a similar recognition of the leadership being taken by American stylists. With so much of the credit for outfitting milady modishly going to European experts, its good to see the American designers earning and receiving credit for their substantial contributions to the world of fashion. (&rxrttjer JLpTJtjairtt

(tl»,ur man *tf jjr* lJ*t»r.* date C<*ryr4»rati*r» ^titerira (E*»tg t&nternntimml (tiarpxtrntum COWLES MAGAZINES, INC. 488 MADISON AVENUE NEW YORK 22, N.Y. MURRAY HILL 8-0300

FLEUR COWLES, Associate Editor, LOOK & QUICK, Editor in Chief, FLAIR July 3, 1953 RECElVED

JUL .. ,53

BEOTOH Dear Francis:

For your very private information, it is now definitely settled when the "Queen" arrives in the United States it will not be before October - and the date is officially October 8th.

This private information (and I don't want it known that I have informed you) should give you ample time to work out the details of the exhibition you have been discussing this past year.

If not, I will talk with you latter in the summer about the possibility of the reception at the Metropolitan which you asked me to consider.

ncerely, Wl^\ Mr. Francis Henry Taylor Director of the Metropolitan Museum of Art Fifth Ave. at 82nd Street New York, N. Y. RECEIVED

SEP 9* V v" DiHECTOH e* InC, Publishers of LOOK and QUICK V 488 Madison Avenue, New York 22, N. Y. MUrray Hill 8-0300

September 5, 1952

Mr, Francis Henry Taylor Metropolitan Museum of Art New York, N. Y.

Dear Francis Taylor:

I have just returned from California, where I saw the Pre- Columbian sculpture show in Pasadena. Itfs difficult not to he extravagant in my enthusiasm for this exhibition, and I am writing you because the place this exhibition would have its fullest appreciation and attention is in Hew York.

Earl Stendhal assembled this show, and being a dealer he is under considerable pressure from an unprecedented number of collectors to part with various elements of the exhibition. But because Earl is more than just a dealer, he would like to see the entire collection exhibited in New York before it is broken up. This puts him in a rather delicate position, because by waiting he risks loss of sales.

After talking with him, hoever, I believe he could be persuaded to withhold any possible breaking up of the group provided he had assurance that a definite schedule had been set for a Hew York show.

Obvious I was terrifically impressed, or I would not be writing you. This art may not have the suavity of the best Oriental works, but it is much more powerful and its impact is profound.

I think it would be a great public service to show this collection here.

Sincerely,

Merle Armitage ^ *

COPY

Room 3400 41 East 57th Street New York 22, New York

April 12, 1946

Dear Mrs. Gerard,

I found your notes to Doris and to me on my return from the country, and I am so sorry that I could nob let you know that I was unable to accept your invitation to tea on the ninbh. Doris is still abroad and is not expect ed to return to New York for some time.

With many thanks,

Sincerely yours

(Signed) Marian Paschal

Mrs. James W. Gerard 1014 Fifth Avenue New York, New York

Copy to Mr. Taylor

T THE METROPOLITAN MUSEUM OF ART INTERDEPARTMENTAL MEMORANDUM

To MR. FRANCIS HENRY TAYLOR April 19, 1946 From F. P. WHITBECK

In accordance with your request I am sending herewith a

copy of a letter received from Miss Marian Paschal.

A V L.L." APR 2 2 1946 DIRECTOR

Jt47&? ROOM 3400 41 EAST 571? STREET NEW YORK, N. Y.

rch 11, I946

De; r ir. Taylor:

Your letter of December inviting Mrs. Doris Duke Cromwell to serve as a i r of the reral committee for the museum's seventy-fifth, anniversary was forwarded to her some time ago. Because of the long delay in receiving foreign mail, her answer s only now been returned to me. Mrs. Cromwell has expressed her interest in your plans, and will be very glad to have her e added, to the membership list.

I should like to take this opportunity too, to tell you of the high opinion 1 have of the work you are doing. I feel certain that the Museum is already bee one of the outstandin institutions of its kind in the world. E also ill ae ?lad to serve on the anniversary committee. ith all fishes to ycu and my kindest regards to '. Horace Jayne, I am,

Sincerely yours,^

rian Pascnal

dr. Francis Henry Taylor The Metropolitan Museum of Art Fifth Avenue and 82nd Street kevr York " r, New York

RECEIVED

;>46

Dlri'cij 1 OR

T April H, 19H

Mr, Jesse Zunser Executive Mi tor

6 East 39th Street flew IOTKt i« I.

Dear Mr. Zunser:

fue deui'spoiitan Mussum, through me, th&riks you Tor the love letter in t&e April 17th issue, 'We ».re perfectly delighted that you find the Museum Mm thing >"hieh you own endorse eo enthu»iafIlealiy.

Thanka from all of us,

Sincerely yours

Francis Henry Taylor Director