Howard Pyle, a chronicle by Charles D. Abbott, with an introduction by N. C. Wyeth and many illustrations from Howard Pyle's works.

THE RETURN
best of all was the re-entry into the community life, the
simple pleasures of lawn tennis and whist parties, the constant society of the restrained but cultivated young Wil1 -mingtonians, the great majority of whom were either
Quakers or of Quaker extraction. He took a moderately
active part in the social life of the little city, but always
a simple part. He would not allow himself to be lionized
because of his art connections. Even his successes, which
had been considerable, especially for a town such as Wilmington, did not put any barrier between him and the young
people with whom he was continually thrown. He entered
into the play of social amenities just as if he had never been
away to New York, just as if he had never painted "The
Wreck in the Offing."~
The Quakers in their original doctrines had been very
much opposed to music. It was never used in any of their
meetings, and by many was looked upon as a device of the
Evil One. With their continued cultural development,
however, the Wilmington Quakers, except for a small sect
which was extremely orthodox in its opinions, had developed
a positive interest in music. This was especially true of
those who, like the Pyles, had more or less given up their
old religious affinities. The production of oratorios and cantatas and the like became regular occurrences. Everyone
who could qualify with his voice was in great demand.
Howard Pyle had a rich tenor voice and considerable
facility in using it that made him very popular in musical
circles. Even in New York he had been regularly urged by
Mr. Roswell Smith to lend his aid to the choir of the First
Congregational Church. In Wilmington, on his return, he
did not immediately turn his attention to any of these musical
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