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workers said, “But look, this man is a violinist. He's got the most beautiful skilled hands I ever saw, He has not parted with his fiddle. It's the only possession he's got. He practises every day, because he hopes the time will come when he can once more earn his living as a violinist in an orchestra. Shall I put him to work at shoveling gravel where we're filling in a swamp and ruin those hands? He then can never play again. His whole future efficiency and way of life is destroyed if he ruins his hands. Delicate hands are essential to a violinist. Isn't there something he can do? Can't he make music somewhere?”

These questions of special projects began to arise certainly within the first year, because so many of these people turned up who had not been thought of as being among the unemployed, and who had special talents. There were historians, archaeologists, research workers of one kind and another, as well as musicians, actors, entertainment specialists, artists, seamstresses. I should say it was that first summer, But it may have been the second summer - summer of '34 - that my daughter, Susanna, who was just a young girl, but an artist even then, as she had a always been good at painting and was an appreciator of art, had been visiting some people called Perry up in Vermont. Alfred Barr, who more recently has been director of the Museum