Omaha Daily Bee Newspaper, August 31, 1891, Page 5

AMODERNTEMPLE OF THESPIS. Weroription of Boyd's Theater, t» Be Dodi- ocated Thursday Nighe. YRIUM™H OF ARTISTS AND ARCHITECTS, Rich Ornamentation Fitly Accompa- nies Aconstic Properties and “<ight Lines” Which are Well Nigh Perfect. HEN Boyd's theater is thrown open to the amusement loving public, next Thurs- day ovening, it will be found by the gront audience which will undoubtedly be pres- ent, that the Orient and the Ocoident have come together under the wgis of Thespis, “From a psalm of Asaph, remarked te Mr. Carlylo in one of his most vilious moments of reflection, “'to a seat at the Lon- don overa in the Haymarket, what a road have mon traveled ! The distompored sage had himself, upon one occasion, been induced to take a seat in the London opera, which ho abandoned dur- 1ng the ballet, upon the ground, as he subse- quently explained, that “he hadu’t the hoeart 10 stay aud watoh a woman with an immortal soul making a Manx penny of herself."” But Carlyle's biliousness does not affect the major portion of mankind, who love dis- traction, amusement, entertainment, and soek theso divertisemonts in the theater as the most legitimate place in whica to pass away a few hours that might otherwise hang oavily. And to gratify this growing taste for art and for pli ure Boyd's theater, whioh will be opened Thursday evening, has been built. Upon the complotion of the old Boyd theater, now known as the Farnam Btreot theater, and its dedication in 1881 by the 1-‘.{ Templeton opern company, amuse- ment lovers and the vitizens of Omaha, ‘whether theater-gours or not, regarded the opening of that modern templé of the muses in the light of a great public event, almost as fmportant in its nature as the grand system of education which Omaha soenthusiastically encourages and which finds its higher ideals in the strong collegiate institutions which Bow ornament the uplands of the city. ut. “New occaslons taach new duties. Time makes ancient gooa uncouth, And long before the usefulness of the ola theater bad died away, demanas for anotner and more commodious place of entertainment. ‘were heard—a ter:plo dedicated to Euterpe and Melpomene that would reflect the erowth nd enterprise of a metropolis which has taken 80 proud a position in the commercial, professional and social life of these fin de weicle days. Mr. Jumes E. Boyd, recognizing the just- ness of the demand and having ail his inter- ests centered in Omaha, which has known STAIRWAY IN FOYER. P e — him for nearly a quarter of s century, decided to yield to the desire and build a home of art wbich would be as much superior to the old Boyd opera house as that ‘was superlor to the Academy of Music. And how well the owner of the new house ha: succeeded in yielding to public clamor, the ‘wealth, culture and fashion of the Gate City may judge o the formal dedication night, ‘which will mark a new era in amusements, In casting about for a desirable site for the new theater several very advantageous plots ‘were offered to Mr. Boyd, but after examin- dng into the merits of them all he finally selectod the ground located at the southeast corner of Seventeenth and Harney streets. Ground was broken on May 20 of last year and from that time on the work has progressed ‘with rapidity in keeping with the owner's wesira to open his now house ut the beginning of the season, and on Thursday night the public will be treated to a view of the com- pletest tneater in the west, and in some re- @pects the best appointed theater in this country, which is saying a very great deal Ordinarily, when a now theater 1s opened, the audience'is treated to glimpses of sky through the network of ropes in the rigging loft, or have gentle touches of as the wind THE OMAHA DAILY BEE, -MONDAY the public becomes a secondary consideration when the owner of the building desires to augment his revenue from the rents of stores, offices, etc, and _ per con- sequence the building ' instead ~ of belug A success from an artistic standpoint, be- comes from the beginning a second rate place of entertainment because of the narrownoss of tne builder. The design of an opera house is at every point a rcompromise between conflicting claims. Fortunately thero was no question botween the two great divisions of the house, the stage and the auditorium and both these divisions have received great care at the hands ot the architects, McEltatrick & Son of St. Louis, who have built muny of the lead. ing theaters of the countr But it is evident from the plan that the de- pendoncies of the auditoriim have been in no degs acrificod to the avditorium. is sacrifice is not of tho stairways, by any means, but simply in the foyer which fs nar. rowed beyond what an architect entirely un- trammeled as to space would probably think desirable for the freo circulation of a portion of an audience between the acts, Theentrances and exits are indeed entirely ample. It has often been pointed out how far inferior modern public buildings are in means of access and departure to thoso of the Romans. It would not occur to any- body to call the doorway of a modern building vomitoria, if_modern notions of verbal propriety did not restrain him. Here, however, with the re good fortune of a building standing free L IN RECEPTION ROOM. nd the Lorenzo in the former city and the wall pictures in the Cam- panile ) Capello Gaigni, Capello Thozzi, Santo Spirito, Santa Felice, the Hall of Mars, San Miniato, Duomo Fiesole in Florence. Nor was his education confined alone to thoso two cities, but he hus made & study of the groat frescos throughout the old world, which has fitted him for the work in band Not content with these rare advantages ho has left the impress of his art on the sultan's palaco in Constantinople, and in tho czar palace in St Petersburg, in ad- dition to having ornamented the interior of many tueaters and private residences. An Austrian by birth, M. Pave- sich is imbued with the true artistic feeling, his pictures, while now and then remin- nt of the Vienna school, are at onco strong and earnest in character, particularly romarkable in tho harmouy of their colors and in the manner of their toning in with the style of architectur The lobby, 24x38 feet, is_spaciovs and very beautifully decorated. Heavy ornamental tiles, in mosaic designs, form tho foor. The woodwork is 1n quarter oak,oil finish,with an arustically carved frieze, showing oak leaves and berries. The box office projects in semi- circular skape about five feot, the counter be- ingof variegated Vormont marble, Rainbow- tinted art glass, in floral designs, which forms tho frieze, sets off the hoavy beveled glass of the window. In front of the box is a highly polished brass railing set in oak, through which the theater-goer must pass to the box-ofice, Tho frescoing of the ceiling | is most artistically done. Upon a pink back- ground the muralist has wrought floral and sylvan figures in appropriate colors, An elaborate ornamental center piece en- hances the already brilliant and pleasing effect. Crested oak leaves such as are bla- zoned on escutcheons, form the border. The elegantly carved doors which open into the foyer are fitted with imported frosted glass. O cither side of the fover thirty marblo steps lead up to the baleony while the floor is finished in hard wood. The fresco design of the foyer is Kast Indian in character, the foliage being massed in groups, tho sky warm ana effective in composition, making an en- trancing ground for the luxuriant growtn of tropical fiora. “T'he ladies’ reception room is located on the right of the entrauce. Tho oeiling s in a plain gray tint with goid lines. Wild foses make a remarkably effcctive design for the fricze. By [ar~ the most attrac- tive thing about this elegant room is the mag- nificent mantel piece. A handsome boveled glass mirror 3x( is set in the wall in polished o Around tho open hearth aro im- ported Fiomish tiles iu figures symbolic of Musicand the Drama. ln the back is set a brouze medallion wrought as the head of Jupi- ter. Brazen audirons and their concomitants UST 31, 1891 jected brackots and the re-ontrant angles of the aplay aro re-enforcea after the manner of the Italian Renals¥ance with one broad panel denominated the “sounding board,' and upon this Paolo Payosich has shown his highost talont. The panel is of sufficient sizo to admit of eight ‘fiitures, three of them heroio in size, and thesa figures toil the story of the “Triumph of Favtasy, Poetry and Mu- sie.”" Thesmali fignres to the right and left of the contral themo liA¥e been taken from Rahl's strong dramatio, composition, the cur- tain in_the Imperial opera house, Vienna, which tolls the story of “The Love of Orphe- us.”” These figures have boen grouped by the artist fv & manner whioh leaves little to be desired and shows him at his best. Two cherubs, moderntzed ideals of Cores and Baceh 1s, occupy| the right panel and and they tell tho storgof “The Joy of the Harvesi.” Oune ocarries a rake over his shoulder while the other bears aloft a mug of beer. Tho drawing s good and the flesh beautifully moist and warm. To the left of tho main figures, threo cherubs are grouped, ono re- clining'on the ground still holds aloft a silken Danner, which has beon tendered in honor of Poetry’s triumph,a second carries the wreath of genius and also an olive branch while a third in & position of intensestjoy whispers lovo nothings into the ear of the wreath bearer. Of the central panel, whioh of course, is the artist's best bit, Fantasy is the strongost both in drawing and modeling. The drapery is biue, airy in texture aud managed effoc tively after old Grecian models. Tho fxod- dess of lyric verse, a modernized Eutcrpe, is the central figure in this group clothed in gold drapery with robes brilliautly lighted by contact with_tho eray background. As the emblem of her calling tho carries a guitar. Poetry has the right of the group and upon her face is shown the joy which great unselfish natures feel over the tri- umph of their sisters. She holds a lyre in an artistic manner and is seemingly in the act of tonching the strings -which shall rouse a slumbering world. Tn troatment the decorations are mezzo- serio as Rossini said of his own music to the “Stabat Mater” and possibly that is all the auditor will endure. Whether a serious treatmont of the fresco would alienato the thoughts of the citizen in an opern hat and an opera framo of mind, is question- able, still the urtist has offended if ft'bo an offens on tho side of aquict colors rather than the glaring reds, yellows and browns, which aro usad in somo’ interiors. If the theater-goer goe€ to the thoater not to study or havo things explained to him. but to bo lapped against eating cares in soft Lydian airs, then tho interior of the Boyd theator should bo hailed as an example of the Lydian moae, for it is restful toa degree, on threo sides, it was comparatively easy to contrive amplo and saparato exits from parts of the house, and this will be. o sou of much gratification to those timorous_peo- plo who are always afraid of a fire. With these exits on all sides, not alono coufined to the auditorium, but to tho stago s well, it Is estimated that the house can be emptied readily in threo minutes. So much for a house that s built on ground floor. The interior form of a theator is distinetly established by experionco as the amphithe- atrical, and véry fow {nnovations upon this typical form aro possible. The ampuitheater in the new house scoms clongated beyond what {s usual and then widens at tho stago end 50 as to more nearly give it the form of a lyro than of “the glit- tering horseshoe's smple round” which be- lones 1o the conventional temple of the ly ric drama. The moditication of the curve which produces this result is however slight. It is in the proscenium that the architects the | have achioved their groatest victory, for it is elaborate toa degree, yet thoroughly iu keep- ing with tho style of the interior, which 1s modern Romenesque. The ‘“'sight lines” and the acoustics so indispensible to the perfect house have commanded no small attention of the de- signers of the structure and to a large extent they will be found weli nigh perfect,althiough the substitution of the elongated gallery in- stead of thoe horse-shoe shape may possibly detract somewhat from both those absolutely necessary adjuncts to the complete theator. This, however, is & matter of conjecture and can only be decided upon the nightof tho opening. As the stage is the point of any theater especially vulnerable to five, it is of prime importance 1o couftine to the stage any fire that may originate there, for the destiny of theaters almost proverbially is to die by fire, and there is scarcely a famous theater in the world which has not been rebuilt more than once. In order to comply with the city ordinance relative to theaters, which is very lurgely patterned after the New York ordinance upon the same_ subject, it was found neces- sary to mako the proscenium arch of fire ti which admits of high ornamentation, This tilo cuts off the stago entirely from the audi- torium ana with the aid of the usbestos cur- tain ought to successfully keop fire from get- ting to the main portion of the house. In addition to this very necessary precau- tion all the partions on the stage have been fireproofed by the introduction of tile, the fly galleries being mwado of corrugated iron, the stairways leading to the loft being of iron, built in spirai form. ‘There is no entrance to the stage from the body of the house, all communication having been cut off in that direction by the best wis- dom of the architects, The stage entrance is on the east side of the building passing through a wide entrance on the north anu along the side wall to the stage door. While the architect deserves great praise for the airiness and brightness of the audito- riuw, the fresco artist deservos unstinted congratulations for the work which has made the theater one of the hundsomest in tne country. While the glories of mural painting have lately been eclipsed by the predominating vopularity of its younger sister, the easel picture, the eclipse has not been total, and giveu tho proper impstus, its sun may yet hine with moro than pristine splendor. ue, the pictorial story-telling age is gone, at least for us, for prosaic type has usurped their functions, but rising generations will imbibe more copious draughts from more nowls through the chinks In the windows, or the partitious which are but temporary affairs crocted for the night. But no such condition will be found on next Thursday evening. The theater is complote, and the dience can enjoy with comfort the unray- elling of the story which has mads “Ala- bams' the greatest success Of tho past decade. A glanco at the grouna vlan of u typiosl modern theater, suy tho Broadway in Now York, or the Auditorium 1n Chicago, shows bow small & part of the whole is devotad to the sudionce, or Is even brought to the notice | of the ordinary attendapt upon the theater, in comparison to the spuce devoted to the sccessories of the entertainment. And ooe of the great problems for solution in the Uulnl&m of “atheater is what portion of the space shall bo set apart for theatrical rposes, and what pirt shall be given r:lnr stores or whatover is du\fndd to »eoupy & portion of the theater buildiug. Very often the comfort aud convenisnce of generous founts, and in this fact the kope of fresco's return as & fine art rests, Art s tho Ligh priest of the emotions, the great humanizer, aud to humauize the mil- lions, mural paiuting became the acknowl- edged queen of art, and what better vehicle for a universal, beneficent art than tho walll Aud it is upon the walls of the Boyd theator that wn artist, filled with the best thoughts of the Italian and Austrian mas- ters, has shown the beauties of fresco paintiog, aod has gven t Omaha an interior which will aiways be & delight to the spectator who sits beueath bis gentlo touch. Ko twenty-eight yoars Puolo Pavesich, who has the decora- tions in charge, much of them having been doue by himseif, has followed the profossion | A student of Vichinini of | of & muraiist. Milan, and Villeoui of Florence, ho has ab- sorbed the best thourtts of those modura masters in addition to huving beon permitted 10 study the frescoes at Sant' Ambrogio, Le | and noted for its trellis work and Arabesque PROSCENTUM Al Il AND DROP CURTAIN. grace the hearth, The floor is carpeted with | rich Wilton and the furniture is oak-framed and covered with red plush, To the left is the gentlemen's vecoption room, which is decorated and furnished aftor the manner of that, of the ludies’, with the ab- sence of the splondid mantlepiece. The ro- ception room leads down a tlight of stono steps to the smoking room. Tho ceiling and walls are pleasingly frescoed and tho floor tiled. The newels of the stairways are richly or- namented by handsbme colored lights which give to the promenade a particularly restful appearance. The predominating color of the walls in the body of the house 1s a delicate shado of saga-green, blending with soft shades of olive, and treated in tapestry effect which gives a very rich improssion to the auditorium. Conventional figures at in- tervals, well toned, gives a satin finish, al- most, 1o the walls which will command’ un- stinted praise from the audience. The ceiling of the auditorium, which has been broken by a broad curve, until airectly over the gallery, is enclosed by a balustrade in fresco, with a counventional design i flowers, varied in varioty, mterlacing. cupids accupy the angles of the balust representative of Music and the Hunt. Two ot the cherubs, which ure well modeled, the flesh tints belng particularly transpareut, carry bows and arrows of ancient desiwn, whilo Music is representod vy one of tho cupids playing on a violiu of the KRenaissance period; the other blows a pipe, the offec being enhanced by the perspective, which is | artistic to a degree. The balustrade is do- sigued in carved woodwork, Komansequo in style, while the cove below is richly orna- mented in oak leaves, conyentioual in design but serietly in keeping with the general plan of the house. The cdgo of the cove is de- signed in relief, stucco in character, while the members ure in imitation relief work. ‘P'he main frieze is a gem, and whils a bit too far away for the down-stairs portion of the house to admire its beauties, it will bo ap- preciated by the balcony' and gallery. It 15 thoroughly classical in desien, with an atmosphere that commands the attention of critic and art lover alike, ‘T'he idea is vory poetical, the design being Arabesque, prosenting heads of oriental cast, “bearded like the pard,"” which the immortal Will Shakespeare speaks about, while from their sides incendescont bulbs 'throw light and give ndditional color to the effect. Un- derneath thoso beads, garland of flowers havo been festooned which give relief to the dark treatment of the frieze proper. Tho frescoe of the boxes, of which there | are fourteen in all ' is made to mitate satin, the soft eftect of the back-grouad blonding with ihree shades of olive from gray, and to olive again, the fronts veing iu plastic work in high relief, the lights being in_bronze and gold, which, under the myriad electric bulvs which are ar- tistically zrouped In and over the coves will present’a Vanity Fair in microcosm upon the opening night. Tho lower boxes bavo a pink aud gray back-ground, while morning glories in riot- ous confusion full over the boxes, blending with a bouquet of roses in & variation of coi ors which ornament the box ceilings. The prosconium arch which has been ai- luded 0 en passent 15 a copy of one of the principal arches of the ‘Tajo Mehal of Agra, which is usually cousidered the tvpical tomb of the Moguls buried in Sudin. This cele- brated tombis noted forits architectural beauly, exemplifying in a measure a combin- ation of Hindu snd Saracenio architectures tracery. The artist with a desire to leave | behiud bim a model of his work bas exquis- itely wrought an effective picture. Tue gen- eral tones are olive and gray; two pedestals havo been indicated on the broad surface, while on the top vases stand in which ros lilies, nayolssus, phlox are arranged in tistic groups, giving a rare bit of color to this frame of = the picture which will bo nightly rovealed to the audieuce. I'ho truss already spoken of above the our- tain opeaing is relieved by vigorously pro- aud there is uo attempt to ho other than in harmony with the surroundiugs. “The balcony rau 1s rieh in color, ey plastic in relief with autique fa holding tho incandescout globes between the teeth. The pillor supports of the balcony and gallery are 1 gold und olive, the fronts being brouzed and then shaded in gold, making a pretty effect. ‘T'he chairs aro most com- fortably vlaced pnd riohly upholstered, the scats being of leather while the backs are in old rose plush, which combines well with tho drapery of ths privale boxes. The seats range 1n sizo from vighteen to ~two inches and have been placod suf- ntly far apart to muko tngross and egross ) them comparatively casy. Thoaisles ave wide and tho piteh not particularly no- ticeable. Tue baleony is furaished throvghout with the sume style of chairs as the parquette and circle, giving a finished appearance to the house. Butit is in the gallory tho greatest com- fort has baen obtained scemingly. It is very largo and roomy and the s ationary seats are particularly wide and easy. And it is reachod from the outside by a broad stair- way of iron, 4 foalure that canuot be too highly commended. Whata “fieid of the cloth of gold" it will beto tha “gods" who © the good things of life as wuch as The seating capacity of the house accord- jug to the diagram {s_2,06, divided as fol- lows: Parquette, 224y parquette ocircle, #12; balcony, 500; gallery, 925; fourteen boxes, 70. The stage is 76x40: .“\flrlmwu thero 18 & height of 80 feet; the ', {.g-.umu are 23 foot from the stage, whild the groove is 20 feet above the stag Proscenium opening 33 feet 6 inches x33, Distanco from proscenium wall to foyer wall, 80 feet. Width of auditorium, 76 feet. Distance from balcony to gallery, 18 feet. Distance from gallery to ceiliag, 60 foet. Size of drop scenes, x30, Lobby, 24x28, Foyer, 16x35, Helght of front of the building: Basement story 10 feet 6 inches Principal story ... 16 feet 6 inchas Second story 13 feot 6 inches Third story. 12 foet 6 inches Fourth story., 11 feet 6 inches Fifth sto +iv. 15 feet 8 inches Size of fla . ‘Scenes in flats, 20x25. In keeping with the beauty and richness of the interior, the Noxon & Toowey Scenlo Artist company of 5t. Lous have painted one of the most complote modern sets of soenery of any theater ia the country, sad it will be as much of a delight and pleasure to the audience as the other features of the house. All modern arrangements of sotting the stage have been introduced, and owing to the great size of the stage, all tho scenos are ar- ranged to hoist or slide as the different pro- ductions may demand. The list consists of seventeen complete sets 8o arranged that as many more combinations may be formed, thus enabling any company tomount as cred- itably auy play as in any theater on this side the water. Tho palace sot consists of a perspective backing with arch drop, wings and borde Louis Seize 1 style and s beauts fully worked out Dby tho artist. The parlor set is pure rocooco in style, an at- mosphere of the Rennaissance belng promi- nent, its scrolls and ornaments being in white and gold, the panels in light grecnish blue and traced with towers, a gold edging giving a very hundsome offect, and when sot in its different angles, will be decidedly unique. The Gothic set, with its heavy oak: coting, tho coroices and architra strongly outlined, its carved panels richly ornaniented, will be most appropriate for the tragedies and English melodramas which will bo enacted in the yoars to come. The oak set is very massive with its carved g, cornices and _architraves, while busts of prominent authors give ita finished appearance and will make the set parti appropriate for a library. All the other interior scenes aro painted with the same care aad approprinteness. OF the exterior scones, tho handsomest bit of distemper painting 1s tho garden scene. o the foreground a transparent lako is shown, the water giving back u soft and cool retlection of surrounding objects, of terrace and lion asbiers, the wholo effect being ar- ustic to a marked extent. Tho conservatory sot with its rare flowers, plants and decp per- spective, warm in color, will be thoroughly enjoved ' by the audience. The ancient and modern streot scenes are rich and atmos- pheric in coloring, which give them the ap- pearance of miles of distance. But undoubtedly the greatest praisewill be given Mr. Noxon for the drop surtain, which is one of the very best figuro pictures m use in this * country. The subject chosen is ontitled ‘“The Festival of the Madonna.” The figures are treated with vigor and bolduess, the artist appreciating the many possibilities which the subject presented. It is glorious in coloring and porfect in drawing. Sur. rounding the picture is & white and siiver mat, enclosed by a wide gold Florentiny frame. The valance drapery border over the drop curtain is in completo harmony with the central themo, being done in a corn colored satin carmine with a medallion in tho center continini a bust of a Spanish femalo figure. . The artists who wero given carto bianche in the painting of the scenery deserve the greatest credit for the wor h is finished and ready for the opening night, and tho credit will uidoubtedly be accorded them by the spectators upon its premiere. Messrs, Noxon and foomey will be remembered ns the gontlemen who painted the scenery for the old Boyd in 1551, Thomas . Boyd, who will house, hus long with " tha amusement life of Omaha and is one of the best known men engaged in managerial work today. He hasa host of fricads botin in and out of the profession who will conzratulate him in presiding over this beautiful temple of tho drama, built through tho efforts of Gov. James E. Boyd, who will undoubiedly be called upon to say a few words upon the nizht of its inauguration. Manager Boyd will have the assistance of “Dr.* 1. W. Haynes than whom there is no botter known treasurer in the profession. Polite, congenial, with a literary leaning quite unusual, he brings to his office an abili- ty which will largely assistin making Boyd’s theater ono of tho best known places of amusement i the country. In addition to Mr. Haynes the heads of departments are as follows: Advertising solicitor, J F. Hunter; stazo penter, Augustus Uhl; master of properties, Al. Koster; leader of orchestra, Buit Butler. In the miast of the general joy which will obtain upon the opening night, thero will be only one cause of regret—tho absence of Morgan McElfatrick to participate in the triumph of the occasion, his death having taken place Frid ing at_his homo in St. Louis, of heari failure. Hoe was the active member of the vest known firm of theatrical architects in America. and n lnte vears plunned more lirst-class theaters than all the other theacrical architects combined. Morgan came by bis talents naturally, his father and grandfather being architects be- him. At the age of 16 he planned a nciunati, which for many years e principal theater in thut ciiy” He the old Boyd opera nouse, and the thousands who have praised the acoustics aud nt lines” of that place of amuso nent van testify 1o the ability of the designer His Just great work was the building of Boyd’s unew theater, which will stand as a monument to his genius, u tribute to the man who was an ornament’ to his profession. E.C.S. anage the new been identitied ce of saline or drastic purga- rtic medicine is needed, ud beneficial is Ayer's ect s to restore the reguiar action of .o howels, without weakenlng theni. Being sugar-coated, these Pills retain their medicinal virtues fora long time, and are casy to take. “Ican recommend Ayer's Pitls above all others, having loug proved their value as a cathartic for myself and family.”—J. T. Hess, Leithsyille, P; “In 1858, b the use of Ay, y the advice of a friend, I began s Pills us a remedy for bil- fousness, constipation, high fevers, aud colds. They served me better than any- thiug I had proviously tried, and I have used them in attacks of that sort ever since,”— H. W. Hersh, Judsona, Ark. Ayer’s Pills, DR. J.C. AYER & CO., Lowell, Mass, Sold by all Dealers in Mcdicines, BAD BL. Pimples on tho Faco | Broaking Out) Skin Tronblea| Little Boreas Hot Bkin) Boilsy Blotohes Qold_Sores) Bad Breath Boro Month or Lips § i o from any of L2 Ny ot thks LR i3 DOCTOR AGKER’S ENGCLISH BLOOD ELIXIR WHY 7 PECARZE o400 ry ) It 8o, ‘d‘h:‘ i o atter o JHN & CO.. Omaha. 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Fier s n besutitul Fiotars Boc sent toaay s ER A ressir, oe T Thing that has created the biggest stir in the minds of many, is bordering on a |SENSATION]| Because of the values offered, being so unrea- sonably low that men go around and invite the attention of their friends to the hit OF THE DA Saying, “Look at me; I have bought the great- est bargain on earth.” «What is it?” Itis the coat I have on my back, and guess what I paid for it?” «Q, about $8 or $10.” «No, sir, it sae | Nree Dollar Coat that you see samples of in Hellman’s window. It don’t seem to me asif $3 would - pay for the lining in this coat. It is indeed an [ODD COAT Sale] And had I the money to spare, I think I would lay in stuff enough to do me for sev- eral years; for if they ever kept faith with their advertising they have done so this year. They said the prices were no object. The stock must be reduced, as from now on they want nothing but new goods, from one season to the other, At Hellman's. And if you go in today and look at their stock you don'’t have to be very well posted to see that they mean just what they say. It would be unreasonable for any one to ask for goods at bigger bargains than they are offering to- day. Take my advice if you have any money or furnishing goods. == < to spend for clothing Go and see Hellman, And ygou will Carry out a Bigger bundle For the money Than you ever Expected to. They are on the corner of 13th and Farnam Sts., where they have been for the last 37 years, and no doubt will be for 37 years to come. i