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Ol)c (Tampus ^ttirror Published by the Students of Spelman College, Atlanta, Georgia During the College Year VOL. IV DECEMBER 15, 1927 NO. 3 JUST WHY? By Mary Brookins With hearts of love and happiness, We greet this season of the year, For thoughts of the birth of Him who is best Make men rejoice both far and near; As we celebrate this greatest birth, Greatest of past and coming days, As we lift our voices in Peace on Earth, May we bless His name with sincerest praise. And is there music any sweeter Than the carols that we sing? Of praises none are meter, Joy to every one to bring; You pay him homage another way: Be true in all you say and do, For the deepest meaning of the awaited day Is determined by the heart in you. This day which is uppermost in our minds Does not concern one single nation, But rather concerns all—all mankind; Every one has a chance to give adoration. If the gifts you give aren’t as rich you’d choose, Remember the giver counts more than the gift, For gift without giver, its charm would lose. We give in Christ’s name as our hearts we lift. Since every day brings us still nearer To the day for which we long, May the meaning of Him be ever clearer As glad tidings ring in words and song; Remember the people who have heard not the story Of the Father’s great gift—the Son. Let the earth be filled with His glory; Make it known to all that the Lord is r. m a FRA ANGELICA’S ANGELS Front an ancient cabinet on our campus there came to us recently two pictures of the twelve angel musicians, painted in 14.13 by Fra Angelica, merely to decorate the frame of a picture, which is preserved in the Uf- fizi Gallery at Florence. Fra Angelica lived 1382 to 1455, the time when the masses of the people learned not by reading, but by seeing pictures that taught them—the time when every possible space of church wall and ceiling was decorated with pictures which taught, by careful drawing and rich, beautiful coloring, the stories of the Bible. Although he never swerved from his purpose of making his art teach and il lustrate beautiful truth about life, he lived his normal periods of growth and change— freeing and bettering, by his study and work in miniatures, what his first master Giotto had taught him, then by his growing love of classical beauty, his observation of na ture, and his study of his great contempo raries in sculpture and painting. The picture in this attractive frame is call ed the Madonna dei Linajuoli or the Madon na of the Flax Workers, because the Flax Workers Guild employed Fra Angelica to paint it for the price of 190 florins, “or less according to his conscience." This Madonna is true to pietistic art before the painter dared show the influence of the classical art that brought the renaissance; she holds stiff ly a fully dressed mannikin for the Christ (Continued on Page Five)