Word: magentas
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...letter to the CRIMSON last week, Henry A. Clark '74, one of the founding fathers, reminisced that The Magenta was the real origin of the CRIMSON. But "after two volumes were published, the President of the University informed us that magenta was not the College color, but crimson, and the publication after that information was entitled the CRIMSON. . . . We were without money or a designated place for its edition, and the undertaking was a venturesome one. . . . The last visit that I made to the University was in 1936 at the Tercentenary. . . . I was 93 years old on January...
...long-ago fall of 1874, when an editorial in the "Magenta," the original CRIMSON, challenged reticent Yale footballers to a battle on the gridiron, it was urged that "Yale may refuse on the score that Harvard has already become well acquainted with the game. Very true, but Yale can practise and learn it during the fall. It is a game very simple to learn, requiring, at the utmost, two week's practice for a club to be able to play it skillfully...
Waugh's hero ghost is ratlike, inexorably likable Basil Seal, the flower of British adventurousness degraded to magenta.* War draws him and his fellow ghosts into one of those ornamental tourniquet-and-candy- box knots which only Waugh knows how to tie. But Waugh's dross and gloss should deceive nobody for long; he has become one of the most deadly serious moralists of his generation. Every one of his novels had its masked importance. History helps make Put Out More Flags his most important book...
...Harvard's oldest living graduates, Henry Alden Clark '74, will celebrate his ninety-first birthday today in Erie, Pennsylvania. A former editor of the CRIMSON, he can remember sitting beside Oliver Wendell Holmes at a banquet of the Magenta, one of the college's earliest literary magazines...
...Sculptors Augustus Saint-Gaudens (3?) and Daniel Chester French Frederic Remington, famed Indian and cowboy painter (10?), goes on sale next week. The first four artists' stamps were not likely to make stamp users very art-conscious. They were, respectively, a hideous green, a hackneyed red, a sickly magenta, a commonplace blue, each containing a palette and brushes in one corner, engravers' tools in another...