“little” boys, nor are they as yet troubled by the illusion-shattering problems of sex. To see boys like these brings a re-newal of one’s faith in humanity.
     On June 21, Telegram from F.K.M.R. in answer to a letter from me, asking me to send the Elevators, and Steubenville picture at once, as he was leaving the following Tuesday for the summer. I expressed them the following day. Thursday (June 30) I received the following letter from him, (dated June 28)-
     “Dear Charlie:
     Both pictures arrived Friday and I can tell you the excitement around here was intense. Without throwing you any bouquets, you have certainly painted two great pictures. The “Elevators” is a collasal (sic) sort of thing, dominating, abrupt, and triumphant as certain sweeping passages of music. The very spirit with which you have handled it seems to accentuate all this. There is a haughty stiff-necked and magnificent arrogance about the “Elevators” themselves that reduces all the foreground objects into complete vassalage, while that beautiful lyric sky with its wavered smoke and flaunting birds is you at your very height. I can readily see, Charlie, why this picture got into your blood and why you just had to finish it, and also, why you are really going to miss it now that you have achieved it.
     “Speaking purely technically, I cannot as yet after this short space of acquaintance, see any spot that is out or doesn’t function organically with the whole design. I find I