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ten o'clock on St. Patrick's Day the regimental band marched on to the empty floor and saluted our closing with the tune of "Garry Owen".

The show was now boxed for Chicago. It included most of the foreign works, but of the Americans, at request of the Chicago authorities, only works by members of the association. Gregg had already departed for Chicago to meet the press and was frantically telegraphing me to come and help handle the horde of newspaper boys who were evidently out for bear. The morning of my arrival I met a most formidable array of scribes. The echoes of the New York press had done their work, evidently Chicago was not to be fooled. The newspapers were on the whole most skeptical, but it was great copy and they loved it. One young reporter called my attention to what seemed like a sixth toe on a nude by Matisse - and immediately rushed off to write his story. I found the officials of the Institute most easy to work with and must state that The Art Institute of Chicago is, to my mind, without a doubt one of the most efficiently conducted establishments of the kind in the country. Aided by a thoroughly trained staff we were able to hang the entire show in one day!

Another gala opening. The papers hammered the show, but it was a grand success and thousands paid
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to get in. One outstanding champion was Julian S. Mason, later editor of the New York Evening Post. Harriet Monroe was also an ally. The feeling was so strong, especially against Matisse and Brancusi, that later upon my return to New York I received a wire from our treasurer Elmer MacRae who was then in Chicago, stating that he had difficulty in preventing the art students from burning them in effigy. The teachers at The Art Institute were almost a solid unit against our exhibition and insisted upon escorting their classes through the various halls and in "explaining" and denouncing every part of the show. I had to request that this be stopped, as it had a very bad effect on non-student visitors who had the right to be left alone to judge for themselves. Pach lectured at Fullerton Hall to a full house. Jo Davidson and Bob Chanler arrived to add to the excitement. Everything was just clean fun. The Chicago management, although perhaps worried at times, came through in good order and was actually delighted. Our relations with the Institute authorities were always perfect. I received letters later in which they stated their complete satisfaction with the show, as well as with their association with us.

In the meantime negotiations were going on with the Copley Society in Boston - and to Boston we 
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