Evening Star Newspaper, April 13, 1924, Page 74

THE SUNDAY STAR; WASHINGTON, D. ¢ 'APRIL 13 1924—PART 5. Magic Net for Beasts' Snares “Ghost” in' Thickets of Sumatra A%er Javing ‘bedn compelled, through the misfortune of a heavy ®torm, to cast on the China sea the entire consisnment of beasts that he ‘was transporting as a royal gift from ®w King of Slam to the King of Spain, Mr. Mager and the passengers and crew of the tramp steamer Poo Ann escaped with their lives only by his inspiration to have the vessel use copra as fuel when the coal was gone. Thus they limped Into port, ‘whereupon Mr. Mayer returned to his home at Trengganu, where we now find him. This is the fourth of 2 new se- Ties of articles upon adventures in the wilds of Sumatra and Borneo by Mr. Mayer, who is one of the most noted of animal trappers and trainers of the orient or the west. The fifth article, “A Death Duel in the Jungle,” will appear in an early issue, BY CHARLES MAYER. T was when I was idling at the kuala in Trengganu, making daily visits to the sultan—just for the pleasure it gave me to be with him—that an idea struck me. It struck me so hard that it knocked me out of the mood for soft cushions, to- bacco and slow talk. I decided to go at once to Palembang, in Sumatra, and get into action. “Pack up,” I said to Hsi Chu L my Chinese “boy,” and to the sultan, “Now 1 must go away. “You are like a man, he said. “to whom some hand is beckoning. What is this sign vou see? Is it a good sign™" “I cannot tell you in words,” I an- swered, “because it came to me in a picture. 1 will make a picture of it for you.” ‘With a pencil and paper I drew a diagram. It was my new idea set down in black and white—an idea for catching the wild beasts that climb in trees. It was very simple. The sultan looked me full In the eyes. “You are very clever,” he said. At the moment I was so pleased with my invention that I was almost in- clined to agree with him. From Trengganu to Palembang is « long journey. But I knew Suma- tra—knew that it was a trappers’ paradise—and I was eager to try out my new scheme. T went first to Sing- apore, where I took a small steamer that deposited me in Palembang in two days. 1 realized then that it was not only the business of animal trap- ping that had brought me, but a longing to be again with an old hadji, my first real friend in the Malas states. I had not seen him since my visit to him after the tragic death of Ali, his nephew, and my faithful serv- ant, gored to death before my eyes by s tapir. Impatient as I was to be off to the Malay quarter, I must first present my «elf at the government house. 1 there received a sort of verbal freedom of the settlement. As 1 walked toward the house of the hadji he came to meet me. He touched his brow and breast. and his deeply lined and kindly face shone with pleasure. “You have come here to see me—to honor an old man with your visit—but there is some other thing that has really brought you. What is it?" “A picture came into my mind,” 1 teld him, “as if it had walked on legs, and I saw myself capturing wild beasts in trees in a new and strange way.” “You were ever a worker of magic, toan,” he answered. I said “When I wish to trap a rhinoceros, 1 get him to step on a spot that he thinks is good, solid earth, and it gives way under him.” “Betul” (True). “It will be the same with a leopard. He 1l trust his weight to the branch Concerning Diatoms. QUALLY beautitul in form as the snowflake, when seen under the microscope, are the Individual plants, known as diatoms. These unusual plants belong to the bitterworts, a family of flowerless plants, and there is mo body of water that does not contain them. On larger bodies of water diatoms form the chief part of plankton, or the floating organisms on both salt and fresh water, while in the spring they form a bright green scum over standing bodies of water. Now each individual plant is micro- scopic in size, solitary and free swim- ming, a fact that has caused many students to belleve that they were animal and not vegetable in nature. The cell wall of these minute plants is made up of two valves, which fit into each other like a box and its cover and is composed of pure silidc acid, a natural glass, but of organic origin. On account of the delicate markings of these valves they are used to test the fineness of lenses. Thus, while diatom is often spoken of as “earth,” it is not composed of infusoria—that is, microscopic living forms—but is merely light and flaky vegetable fossil deposits, Among the poorer classes of the peasantry in Europe it has also been used as food for hundreds of years. There it is known as “mountain meal” and considerable portions of it are frequently .added. to bread dough. - Diatom is not a food, however, and there is no economye in jta use. In fact, its use enervates the. human body and produces about the same effoct as the eating of .clay -on the American Indians, This so-called infusorial earth, like mearly everything else, has its ex- cellont uses, however. It is used in large quantities In making dynamite; as a polishing powder; for covering steam pipes and as a filling agent for paint and rubber, The extreme lightness of this earth and its great absorbing capacily ks it very valuable and it is cured and prepared on a large scale. There are many great deposits in nearly il parts of the world, among the Iargest being that beneath the city of Richmond, \in. Virginia; one near Montersr, Calif, and another in Caechoslovakia. . Tately In_drilling artesian wells at Atlantic City, N. J., deposits were dispovared a thousand or more feet umder the surface of the earth. R Many volumes have been written by the scientists of this country and Rurope on the subject of fossil diatoms and the highest art has been employed to illustrate them, but no piotare can compare with the re- markable beauty revealed bY. & peep through the microscope Noted Animal Trapper and Trainer Undertakes New Plan for Capturing Jungle Animals Alive-i—i"ame of Contrivance Designed for Leopards and Tigers Grows Rapidly and Has Singular Effect Upon Natives—Hunter Has New Adventures When Invited to Region Where Beasts Are “As Grains of Sand”—Confronted With a Dangerous Problem—Writer Describes the Binding of a Python for Fransportation. of a tree that seems solid in every part, but, since it is half sawed in two, it will break beneath him. “And he will fall to the ground on tour good legs, according to his habit, and take himself off 7" “No, no. Before he falls, lured by the smell of live chickens, he will have sprung into a net that lies mouth open along the branch over the gash in the limb.” *“Then net and beast will fall to the ground together ™" “No, once more. In and out, round the mouth of the net, is laced a rope. The end of this is tied to a strong branch above. When the lower limb breaks and falls, the mouth of the net is drawn together by the rope, pull- ing against the weight of the beast. He will hang from the upper branch until I come with my men and cut him down.” * * F % AFTER the morning meal next day the making of the trial net began. The hadji selected two rapid rattan workers. An audience gathered to watch them, and their fingers flew. The net, when finished, was long enough to hold a large leopard and had a round opening three feet in di- ameter. A twisted rattan rope with a long, free énd was laced around ft. By the time everything was ready for the “try-out” my fame had spread to the farthest corner of the Malay quarter, and we had an andience of a | hundred or more trafling after us’ when we went out to select a tree. A suitable tree was found just outside the kampong. It had two strong branches, one abave the other. A man was sent up to saw half through the lower branch, and the net was so placed along it that this gash came at about the middie of its length. The body and mouth of the net were held open by slender strips of rattan tied to twigs. The end of the draw rope was attached to the upper branch. The man now sat straddling the 1limb just before the open mouth of the net, and a stone weighing about twenty pounds was hoisted up to him. He beld it poised in his hand for a ‘moment, then heaved it into the rat- tan bag. There was a crash. Down went the end of the limb, the net and stone with it. The men below sprang away, but the net did not touch the earth. With the mouth drawn closely together, it swung tree, suspended from the upper branch. So far, my invention worked. The hadji explained to the bewildered audience that this was a dress re- hearsal and the stone would later be a leopard trying to get a ohioken. It was interesting to watch their faces as they caught the idea. “Betul” they said. Over and over, “Betul! Betul!"—slowly nodding their heads 1t was a lucky-thing for me that among the onlookers there was a traveler from the southwest, Abdul Rahman, who had come down the river Musi from a place six daye journey away. He had come down on a raft of bamboo poles and had brought crude rubber to sell and the very best quality of rattan. The raft itself was to be broken up and the poles sold for building purposes. He and his men would go back in the boat they had brought down as a trailer. That was his original plan. but, being a man of resource, he de- cided to change it and take me back with him. He had fallen in love with my swinging bag. Abdul Rahman was a man of importance in the dis- trfot from which he came. He was the peng-hulu (headman) over three kampongs. No monarch could have invited me to his kingdom with greater dignity than Abdul! Rahman, as he asked me to come to his kampong. ‘There are boasts in the jungle there” he said. “many, many, like grains of mand, and their skins shine like level water in the sun.” I talked the matter over with the hadji, whose advice I greatly valued. Ho assured me that the man “spoke truth.” sx e T was Abdul's bamboo raft and the evident ease with which he had come down the river that finally de- | cided me. The finest animal in the world is no good to a collector if thers i no easy means of transpor- tation at hand. The hadji picked out the boats I was to take. The one in which T was to travel was fully forty feet long and the one that was to carry my supplies was thirty-five feet: The supply boat was capable of carrying a ton and a half. They had been made by the hollowing out of huge logs and they had been very carefully thinned down and were sbaped not unlike great canoes. ‘When the time came for the selec- tion of the men an embarrassing sit- uation arose. Almost the entire male population of the kampong offered itself. I had not only a reputation &s a worker of magic, but as a man ‘o i who bestowed money freely. The ex- pedition promised plenty of food and plenty of sport. The hadji took over the delicate matter of selection. He picked out ten men for me, fine speci- imens, five for each boat. The men traveled light. They carried merely an extra sarong, twisted round thelr heads as a turban. They all wore at their sides their parangs, heavy, eighteen-inch knives. A Malay with- out a knife is no Malay at all, We got oft at sundown. Rahman's boat led the way. It was in the afternoon of the sixth day that we neared his kampong. A crowd Hhad collected on the river bank. The kampong was naturally expecting the return of its headman, but, instead of one boat, here were three! The kajang-roof on my boat meant to them a European, because the natives never used this protection from the sun. Abdul Rahman waited until we had all landed and he was surrounded by a wide-eyed circle. Then he an- nounced: “The tuan is a pawang (witch doctor). No beast can take ihis life. He has come to kill all the animals in the jungle. He is a work- er of magic. 1 have seen.” The crowd parted silently to let me and my men pass. They were deeply awed. Abdul put me up at his own house. While 1 waited on his veranda his women gave it a furious houseclean- ing. The supplies were brought up by many hands. hu 1" allowed them to carry everything but the sacred guns; these he looked after himself. Every man and boy wanted the honor of carrying onme of the {tuan’s possessions. “He is not a Abdul |And: “He can work wonders. |peng-hulu has seen and heard.” I told Abdul that I must have quantities of rattan in lengths of at least thirty feet and that his men must cut for me straight young trees two inches thick and at least twelve feet high. The * x ¥ % HILE this was being done, I de- cided to make an excursion into the wilds to look the ground over. I took with me my tep men and |Abdul Rahman with three of his men. |We had gone a very short distance when the men in front stopped dead. “There is a tiger!” they cried. The tiger came unawares and was probably as surprised as we were, for rarely is this beast encountered in the daytime. The men jumped back, Dutchman,” I overheard them saying. | he goes again. leaving me at the head of the pro- cession. 1 never carry anything In the jungle but a parang in my hand. My gun was with Abdul, who was close behind me. Flé thrust it for- ward and 1 grabbed it. Here was the first test I was to be put toin the eyes of these nativea It was a vital moment. The tiger was about a hundred feet away—a beauty. Up went his tail. I.knew what that ENORMOUS PYTHON WAS HALF [ meant. A tiger always twitches up his tail before he springs. In a moment he would let out his coughing roar and leave the ground in a spring. I have heard that roar dozens of times. It is paralyzing. No man or beast can hear it calmly. But the roar never came. On the striped creature’s breast was the snowy white spot a tigar rs, as if for the benefit of the marksman. 1 took a quick but careful alm and sent a 50-110 explosive bullet straight through it. The tiger roll- ed over in the grass. I ran forward and the natives followed me. The bullet had made a killing wound. The men began to heap insults on the dead creature. They spat on him and called him names.. . “Why didn't, You stay at home?’ they cried. “You | wanted to see who was coming, didn’t you? Well, you saw! You wanted chicken, didn't you? You got some lead!” They hung the body up so that it would not be eaten by animals while we finished our reconnoitering. When we came back in an hour or two all hands helped in skinning it. Our little party went back to the kam- pong in'a state of jubilation—not so much because a tiger had been killed as because I had stood the test. When a number of the swinging bags had been made under my direc- tion [ called together the men of the kampong to explain how these nets were expected to work. When I went to look for trees in which to place them I found a dozen or more with fresh marks of leopard's claws on the bark. The leopard. after all, has much of the domestic cat in him, and where he goes once Fortunately, before I set out the possibility of having trouble with monkeys had occurred to me. The place was full of them. A monkey has no legitimate inter- est in live, fluttering chickens, but his curlosity is enormous. If he dis- covered one of my ropes tied to the upper branch of a tree he was ca- pable of worrying the knot or even sliding down the rope itself to inve tigate. In order to guard against this, our final operation, after the net was placed, was to smear the upper branch and the net itself with bird lime. I took the greatest care in arranging the nets. * * ¥ * BOUT 8 o'clock the following morning we started out to’ sée what luck we had. There were twenty men with me. ‘The first net o \\ W \ | seam, ! evocation from ! Morning Sun” Is in the Palace of the HALF OUT.” to which we came was empty, but there was a stupid monkey chatter- ing above it. He had his paw stuck up with bird lime, and had also man- aged to damage some of the pieces of rattan which held the. net open. We repaired the mouth, which was sagging, and then went on to the Dext net—empty, too! As we neared the third one Rahman was well in the lead. Abdul He caught sight of it in the distanc stopped dead and threw out his hands, palms back, as if to warn us. He continued to stand there without a word, without moving. I ran to him. He turned and stared at me with a queer, dazed look. This man, bred on the edge of the jungle, had seen a strange sight. For a moment 1 did not understand. I could make out the bag clearly. It hung down ‘limp from the branch and! was distended. ously an animal was in it. Then something happened that was stranger than anything I had ever seen in my life. The bag swung slow- 1y to the right, then to the left, and lifted itself straight into the air. When it had stopped there for a mo- ment, needing no support from above or below, it waved about with a sick- ening motion, then slowly lowered it- self and hung limp again. The men crowded up to see. hear their heavy breathing. “Ghost! Yee, ghost!” I heard them say. The air was thick with superstitious awe. There is & contagion about that sort of thing. 1 was by no means ready to take an oath that I had not caught the devil. I had never seen gravity defied before. It was Abdul Rahman's “Let us go back, tuan,” that sent me running for- ward. The spotted sunlight confused me, and it was not until T was almost under the net that I saw what had actually happened. There my relief broke from me in English, which I had hardly spoken for months. I heard mayself shout, “That's no sight for a’drinking man'" An enormous python was half in the bag, half out. He had shot into it for the chickens, had swallowed one, in fact. The branch had broken with him; the draw-rope at the mouth of the bag had tightened about his mid- dle, and it was further tightened by his weight. The end of his tail was wrapped about the branch. He proceeded to glve me another demonstration of how he could haul himself up with it. 1 began to laugh. I roared. There is nothing so reassuring as laughter. The natives ran up to me. When they saw what it was their half-naked bodies swaved and doubled Wwith mirth. My own laughter stopped suddenly. The thought had come to me that, though we had a fine prize, more than three yards of snake were still free This was sobering. The managing of a python's tail is a matter of life and death. upper Obvi- 1 could * % % ORTUNATELY we had plenty of good rope with us. 1senta fine, ac- tive fellow up the tree with explicit di- rections. He was to tie a rope in a slip-knot on the snake's tail and— very near the end of the tail—to give the rope what is called a “half- hitch.” He carried out the directions and then, passing the long rope under the branch, he threw the free end to the men below. They gave it a strong pall. which loosensd the hold of the snake one coll, drawing the tip of W= tail downward. Holding guite taut the rope attached to the tall, they threw the free end of the rope to the man in the tres. He passed it over the branch and dropped it again. A strong jerk and another ©ofl was loosened. In short, they um- wound the snake, loop atter 100p, by means of the rope, which served, In a way, as an elongation of his tail Another rope, fastened with a slip- noose around him where his body ex- tended beyond the bag, was pulled also to loosen his hold on the branch. A second man was holding the rope by which the net was tied to the upper branch—ready to lower it when the time came. It was delicate and most dangerous work. A python's com- stricting power reaches to the last inch of him, and, though half of him was confined, he could still strike a terrific blow. When the last coil was unwound the men held the tail and body ropes taut and the bag was low ered. While the net was still off the ground we dealt with the snakes head. He had managed to force it through the mesh of the net and was hissing his threats. A python is mot poisonous, but he can give & nasty bite. One of the men took off his sarong. This was folded flat and used to press the snake's head back into the bag. Then, pulling and hauling all hands set to work to wrap fthe free end of the snake round and round the bag as if it had been @ spool. When he had been wound to the, point whére the rope was tied round his body, that was wrapped with him—being passed over him, back and forth, to hold him more firmly. The rope on the tip of the tail was also put round him and the bag for good measure. The whole thing was then attached, to a pole. Since the great bundle was fully eight feet long, it was looped up to the carrying-pole at both ends The python weighed all of two hun dred pounds. He was twenty feet long. The men had been at the work of securing him for two hours with out a break. To keep Malays at work for two hours is an art in itself. They were pouring sw I decided that they had all better have a rest before we undertook the home stretch. We sat on the ground. I smoking and the men chewing betel-nut. Each man began telling the others just what he had thought when he saw the bag waving in the air. Abdul Rahman leaned toward me He touched brow in some embar- rassment. vould the tuun do me the honor,” he said, “of telling me the charm he pronounced when he saw. the net lifted high? Was it words of strong magic?’ For the moment I could not remem ber. Then it came pack to me. I shouted, of course, “This is no sight for a drinking ma “Abdul Rahman,” 1 answered emnly, “it is a charm that has to with the devil of dev (Copyright, 1924.) Loie Fuller’s Color Symphonies . Owned by Queens and Princesses Exhibition in Government Gallery Seen as Triumph . colored lights or luminous colors BY STERLING HEILIG. N the west end of the Palace of the Louvre there hangs a gTeat- sized and mysterious “color sym- phony™ belonging to the Duchess de Vendome. It is called “Eclats (outbursts, explosions), whereby (as will be told presently) hangs a fale of London under the Zeppelins. It is painted on an old, rich linen bed sheet by Lofe Fuller, and is in the nature of hand-colored tissues which she prepares for boudoir dra- peries and negliges of fashionable women. But certain great particular compositions, bearing poetic titles, are priged as a new kind of subcon- scious pictures, capable of evoking in those who are psychic varied re- sponses, different with each specta- tor, yet all bearing on the mystic subject. This distinction must be kept in mind, now that the French govern- ment is actually holding a loan exhi- bition of the color symphonies in the decorative section of the Louvre Gal- lery—at the same time when women of soclety are wearing boudoir gowns which bear certain of theif titles. In the grand old mansion of the Rue' Des Saints-Peres, where Loie Fuller lives, T met the Baronne de Rothschild ordering silk material for a robe de chambre from Loie's crea- tion of “The Early Morning Sun." be- longing to Klizabeth. the young Queen of Greece. The robe de chambre will carry it: but “The Early Louvre, loaned by the queen, just as the Duc de Vendome has loaned “Eclats. The Queen of Rumania has loaned “The Garden of Dreams,” painted on a great white satin cloth without a and inspired by the queen’s own fairy tales—“but inspired un- consclously,” says Loie. “After it was was done I saw that all the fairy stories of hers which I had read had got into it.” The Grand Duchess Cyril (whose husband is pretender to the throne of Russia) has loaned one called “Cre- puscule” (“Twilight”). It is done on great white satin panels, but Loie Fuller prefers old linen, which has become suave and “human,” as she calls it, by long human use. * ¥ ¥ ¥ o HE Duchess de Vendome gave a great-sized old linen bedsheet | which bears in.red embroideries on one gorner the 0. 26" of the old royal linen closet of the household of Louis-Philippe, King of the French. “No canvas or other.tissue in the world,” says Lole, “absorbs colors so well as such an old and long-used !linen bedsheet of high quality. When Hgl artists learn this fact they will all tfy to obtain and use them. of their beauties is that they are So widé and seamless.” She worked on “Eclats” during the war at different times, particularly when her dancing company’ was ap- pearing at the Colosseum, in Londen. Another | “through Mrs. Bellamy Storer, wife of our minister to Vienna We all lived, then, at the Plaza Hotel, in Paris, and met in the bombproof cel- lars during raids. There, in the caves, I told King Albert's sister that old linen made the best canvas for a color symphony—and she procured me this one from the royal linen closet of old France.” She finished “Eclats” one night at 2 am. in the property room of the London Theater, When every one was gone. Getting out of the taxi at her hotel in Russel Square, she found herself standing under. a Zeppelin. It dropped a torpedo on the British Museum, but the missile, happily, ex- ploded on the ground. Then, as the aircraft turned away, it was attacked by a little airplane and fell, a flaming mass. “I was alone outside the locked and dark hotel,” she said. “My chauffeur had dashed off without his pay. My Gawd, it is a Zep! he cried. ‘One killed my brother!’ A few weeks later, when we spread the sheet out to examine the picture, we found that it represented an explosion of bombs. Yet nothing of the kind had been in my intention!" Her subconscious mind, she is con- vinced, had done it, a few hours even pefore the great “explosions” im- pression of them all! And, thus, for all—in the subconscious world—time is not irreversible. Also, she often knows what she Ihas painted only when the picture is |finished. There is nothing “spooky” {to it, only wonderful suggestions of the power of mind untrammeled! £ % % % TH E Queen of Serbia gave Louie & sheet from the royval palace at Belgrade. What came, when it was painted, was “The Map of a World" —mot of this world, but only parts of it which Loie Knew personally; and the rest is fanciful” But there are quantities of psychis parsons who do not tire to gaze on it, convinced that they “already recognize it, from some past or future!” Now, a great man of the decorative arts has told me this: 1f'we ask why these things (which, described or even photographed, seem “mixed up,” without form or subject) have such and such influence on art,'it is be- cause they open up new realms of color and, light and appeal power- fully to the imagination, conscious and subconscious. “Every one sees something differ- ent in them,” he says, “or, rather, nobody sees the subject in the same way"” “If you reduce any one of these big pleces to the small slide of a projector,” says the decorative arts thrown upon the screen, you see it luminous—in light, instead of as a painting. Or, you can throw it upon. a theater. stage, Or upon a dancer. Such, in fact, are the Loie Fuller effects produced at the opera last winter. On the painted sheets, it is as if she caught the colored I hold on people Lofe tells it this way: “I can put them on the slide first, for the stage or dancer; then transfer them to the big picture from the small slide; or work backward.” So, they say that she has “caught | lights” as painters had never been able to do. Two English-printed papers of Paris, dealing with the exhibition, put the columns under the two dif- ferent headlines—"Riot of Colors and “Orchestration of Colors the public is divided between revelation. two * % x & IAT a triumbh for the American girl who came to Paris, thirty vears ago, with her serpentine dance! She had her mother and brother with her. Frank Fuller invented certain of the lighting devices, but the mov- ing luminous colors were all Loie's creation. And Paris recognized it. At the Follies Bergere, a music hall, it was not so much Loie Fuller that danced as Loie Fuller's lights. She moved in the lights. The lights danced with her. In a word, her per- son showed the lights off. This lights complex has always been her moving force—she never ceased to work in it. This, Paris recognizes, also. From the Folies Bergere to the Grand Opera of Paris is five minutes’ trip in a tax-automobile, but it took twenty-nine years to make it. True, she made the next jump, to the Gal- lery of the Louvre, in one year after! ‘When, last winter, she was ac- tually called upon to produce a bal- let of lights at the opera (an art in- stitution of the government!) it was raid that the career of Loie Fuller had reached s culmination in a blaze of glory. Yet she risked de- feat, right there, from the beautiful young dancing girls of the opera! The dancing girls pretty well run the Paris Opera. Through the Influ- ence of their friends, who aid in sup- porting It—the subscribers—no for- eign dancer has a chance thers. So, instead of putting on a single dancer of her own to produce the spectacle, Loie Fuller amiably employed “the beautiful girls who own the shoj and so transformed herself from hos- tile outsider to welcome guest! But (with a big “B") she get back at them! The ballet was called “Chimere” (Chimera), with the music by the Princess de Polignac, who ul\flel’-1 stands Loie’s ideas perfectly. So did; the electric light men and machinists. “Chimera,” as a title, suggesting everything that is fanciful, Leie created for it dancers like trees, a chorus of eyes, the frightened flowers and quantities of similar bizarre characters, which required lots of activity from the beautiful dancing girls of the operw, but resembled in no way the cast of a ballet as they | Samuel their stuff. And Paris recognized this also.’ Paris having recognized it at the opera, Loie now takes her opera ef fects and transfers them to the bed sheets of queens, her friends, as colo symphonies Yet, again, “At the Loie Paris recognizes it! Fuller exhibition in the Louvre” ays the art critic of the Debals, “you see ‘The Burning Sun' (which belongs to Mrs, Frank Pixley, whose husband wrote ‘The Prince of Pilsen,’) just as if you saw it in ‘Chimera’ at the opera.” P T this exhibition In the Louvre there is a great sheet, larger than them all, and called “A Gardem in a Jungle. It belongs to Mrs. Rodolph Valen- tino and is “fixed” for all time from the opera ballet episode of the same title. Mrs. Valentino is so enthusi- astic about it that she is going to build and entire room around it. “in spired by it, and to create an atmos phere for it.” She is the daughter of an American chemist rather physicist, who presented French per fumes to America. The “Penal in Red" belongs to Mrs A. B. Spreckels of San Francisco, founder and doner, with her husband of the California palace of the legion of honor, erected in Lincoln Park overlooking the Pacific, in honor of California’s dead of the great war. The Queen of the Belgians given a sheet now being decorated as “Harmonious Spots” for the Mary- hill Museum, founded in the state of Washington, near Portland, by Hill. who accompanied Gen Joftre in America. The builder of the Nerthern Pacific. J. J. Hill, was his wife's father—the Mary Hill for whom the museum was named, This sheet, given by the queen, was the fdentical one used to cover her when they made the cast of hes royal hand for the collection "of Maryhill A hundred hands of personages of the world war have been cast from nature for Mr. Hill—Gens. Joftre, Per- shing and Foch, with King Albert and his queen, at first consenting—and such plaster casts are now. being transferred to marble. ¥ “The Orgie of Colors” belongs to th Baronne de Rothschfld. “Chaos” be- longs to Jean Guiffrey, director or paintings of the Louvre Museum. The “Peagock Blue Panel” is owmod by Mme. Louise Metman, wife of the di- rector of the.decorative arts section of the Louvre. Kate Fuller of Paris owns the “Study in Green"—the only one in green of the collection now shown at the Louvre. H * x x % OW did Loie Fuller get there® “Frequently, in years past.”, sayy Loie, “people have remarked my color work, until. one day M. Arsene Alex- hax knew it, and certainly did not per- mit them to be recognized by their friends! “I had met the duchesse,” she says, Lghts of ‘Chimere’ and fixed theml™ Once more Loje Fuller made her andre, inspector general of Beaux- Arts and the great art critic of the Figaro, called at a moment when I (Continued on Third Page.)