For all of The New Yorker’s attention to the Scopes Monkey Trial, the August 1, 1925 issue had little to say about the trial’s outcome.
The State of Tennessee v. John Thomas Scopes was decided in the Criminal Court of Tennessee on July 21, 1925, with Scopes found guilty and fined $100 (equivalent to $1,345 in 2015), but the verdict was overturned on a technicality.
“The Talk of the Town” offered this brief observation under its weekly wrap-up column: “Mr. Scopes, found guilty, goes home to Paducah, Kentucky…”
And then this item toward the end of “Talk,” announcing the death of the Scopes Trial defense attorney (and one of the magazine’s favorite punching bags) William Jennings Bryan:
“The Graphic Section” offered this cynical twist on the trial’s outcome:
In a related item under “Of All Things,” Howard Brubaker wrote, “Representative Upshaw of Georgia will introduce an anti-evolution bill in Congress. Upshaw is never happy unless the Ship of State is making twenty thou-shalt-nots an hour.”
Brubaker also quipped, “Tennessee is not the only State where there is arrested mental development, but it is the only one so far where it has been fined.”
Back to “The Talk of the Town,” the design for a memorial to Teddy Roosevelt was approved, to be erected as part of the east façade of the Museum of Natural History. It was noted that the design featured Ionic columns that Roosevelt “would have detested in favor of a “native expression of the arts…”
“Talk” continued: “One recalls that Colonel Roosevelt wrote the American Institute of Architects deprecating the use of the lions which doze at the entrance to the Public Library, and advocating the placing there of bisons instead…The memorial to the man who insisted thus on American art, rather than imitation of foreign models, is to be a severely classic as the facade of –let us say—the First National Bank of Dubuque, Iowa.”
“Profiles” featured Walter L. Clark, a “genius who made art into business.” The movie reviews included Theodore Shane’s fumings on prudishness of American censors (Will Hays in particular) especially when compared to more liberal European productions by directors such as Ernst Lubitsch:
In books, the magazine continued its admiration for the jottings of A.A. Milne:
As for night life, The New Yorker lamented (“When Nights Are Bold) that the rooftop garden at the Biltmore “was the only bower worthy of the name left in town where quiet or startling simplicity reigns”:
And speaking of society pursuits, Philip Pratt offered this parody on falconry, while Hans Stengel took aim at the starving artists:
And we end with a detail of summertime images (by Helen Hokinson) from the center spread of the August 1 issue:
Next time: The dog days of summer.