Omaha Daily Bee Newspaper, September 23, 1894, Page 16

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THE OMAHA DAILY BEF: SUNDAY, SEPTEMBER 23, 1894 98¢, worth $2.50. This price is for a beautiful Lamp. decorated in a ni styles. Ha &¢ burner, bisque Is an ornament for any parior. finish a Parlor Vase | i nber of different | NI I - | nd | ~ Comforts $1.00, worth $2.00, These are large sized comforts, 60x72 in fancy stitched, in a variety of patterns. J received 50 bales of them, which will I about one week at this pr ~ Porlieres $2.90, worth $6.60. Made of heavy quality chenille fashionable shades, fringed and dadoed and bottom. Theso sane poriieres you wol pay § for elsewhere. Pictures in all ch, ust ast the top uld . Bookcase $3.98, vorth §6.50. Solid oak, finished antique, has best lig- num vitae castors and as well put together as any of yoar best bookcases. No more than Folding Beds $14.50, worth $26.00, Solid oak, has best woven wire spring, with tempered steel spring supports to pre- vent spring from sagging. So simple to oper- ate thai a child can open and close it. ingrain Garpeis 24¢, worth H0c. All the latest patterns are shown in this lot, small, medium and large figures, light | rk and red grounds. This same carpet wil! Extension Tables $6.66, werth $12.50. Made of fine quality of oak, finished an- tique. Has Fox patent castors. This price includes a full crate of leaves. Sideboards $11.85, worth $20,00. Has large beveled mirror, commodious lin- en drawers, with two large closets below, Fox patent castors and last but not least, it is solid oak. Ranges cost you elsewhere 50c per yard Brussels Garpats | K¢, worth 90c. We just received 200 rolls of choice brus- sels carpet, from New York, which were bought at G0c on the dollar. Many of the newest fall patterns are inclosed in this lot Lace Curtains 98¢, worth $2.60. Our own importation from Nottingham, England. The pattern e an imit rich brussels effect, and Is well wor times the price we ask for them. than one pair to a customer. THIS. PARLOR SUIT $i9.50, 1t is identical with piclure at the WORTH $50. left. Upholstered in rich Tapestry, fringed ely around, even the arms being draped with elezant knot'ed fringe, good workmanship throughout. Bottoms are hesvy cambric, making it dust proof. covered with This, however, is only one of the dozens of har- gzains shown in our Upholstery Department. Three plece: nd commode, W centur inet work arge bevele . Window Fox being Made of good on best ferent shade 15 price includes o +ils to put them up. m Has cane seat, 0 consisting 1in el patent ¢ panelad 24¢, worth quality spring diab neat shade poil | Reckers 98¢, worth $2.60. gh Chamber Suits $14.75, worth $25.09. bed, er antique, or all the grooved. 2x26 inches Shades 1. roll olive ser long, In thres and maroon. and back, which Is now ntique and well Genter Tahles $1.45, worth §3.50. We are having ano tures, every pict being reduced to attention is called to reduced from $3.50 to $1.45. EASY TERM ;, $10.00 worth of goods, $1.00 week or $4.00 per $25.00 worth of goods $1.50 week or $6.00 per $50.00 worth of goods $2.00 week or $5.00 per 75.00 worth of goods $2.60 week or $10.00 per $100 worth of goods $3.00 week or $12.00 per $200 worth of gcods $4.00 week or $15.00 per m alf price and less. month, month, one to a customer, ther special sale on pie- in our establishment pecial | one lot that have been month, nonth. i month, month, Dinner Sets §7.50, worth §13.50 Made by one of the best potteries in Eng- | 1and, and’ warranted « ) The above price is for 100 picces. This for a five has large oven, patent t to crackle or craze. | made. ? > FORMERLY PEOPL Send 10 ceats to cover postage 01 big "4 catalogu i $11.45, worth $20.00. hole range, made one of the best foundries with anti-clinker grate, teed to operate as perfectly as any range by in the country, tin lined oven door, and fs guaran- open with with a woven wire BEd LOIII'iligeS\- ‘Base Purne $6.98, worth $12.50. This is a large size bed lounge, and when | duplicate it anywhere ur is a complete bed, the best quality of ten top, hard ridge in the center. S3ITE TALLME B perfectly. pretty nickle orr Handsom. ly belng upholstered | ber we carry the pered springs, which prevents a from 25 petitors. to 40 per T HOUSE. 0pza Moad rs $11.75, worll $2250 ch and every one guaranteed to operate ments on top. You cannot | largest and cooking stoves in the city & j and Sataiday Evenings, nickled, also very 98¢, worth $2.50. Bolid oak finished antique, has large shelf ay be used as a place for ave only of these tables bear the mark later cannot filled. EASY TERMS, $10.00 worth of goods, $1.00 week, $1.00 $25.00 worth of goods, $150 week. or §6.00 $50.00 worth of goods $2.00 week, or $3.00 per mo worth of goods $2.50 week or $10.00 per month $100 worth of goods, $3.00 woek or worth of good $4.00 week or er st . Remem- of heating below, which n books. As we mail orders that | than Wednesday cent below com- be per month. per month $75.00 .00 per month $200 5.00 per month GEMUS AND PERSEVERANCE The Flements Conspicuous in the Caresrs of fuoecssful Arts's THE MASTERS OF ANIMAL PAINTING Visiting the Studios of Gerome, Rosa Bon- heur and Paul Riviere—How the Artists Study and Use Animals In Their Pictures. (Copyrighted 1894.) PARIS, Sept. §.—Behind a correct and ex- pressionless house front in that noisy and ordinary part of Paris called Clirchy lives the painter Gerome, If the extericr of the famous artist's home is noncommittal, no sooner over the doorsill than a decided and varied character is evident. 1In front of the entrance in the court a couple of eulptors in blue blouses carry gut the mas- fer's orders, though through the glass doors leading into the ground floor rooms tantaliz- Iog glances of white statues, carved woods And heavy armor are to be caught. All the way up the three flights of stairs, which lead to the studio at the top of the house, pre huvg on walls or fitted into corners strange and beautiful art objects, plaques of iridescent Hispano-Moorish ware, Indian mosaics, hideous, but living Chinese Masques; great bronze urns with dragcons for orn ments, Rhodlan fayence, a pair of heavy boots, looking as if they had been pulled from tho legs of a military mandarin. Almost without exception the articles are from the Orient. THE STUDIO OF GEROME. On the upper landing double doors lead nto the atelier. The first glance at this #tudio of Gerome's for one who has seen much of his work is bewlldering because of fts points of familiarity. On every side are objects which have figured as accessories in Dis plctures; here It is a rug, there a sway- 1ng Incense burner among the score or more 4n every style and size which hang from the ceiling, here it is a corner of the room it- solt, familiar as a background, On every hand are sketches and half finished studies of well known pleces. At one side Is a reduction in marble of that exquisite Tanagra of the Luxembourg and, graceful idea, be- side it a statue of the lLittle dancing girl which Tanagra holds in her hand. Hoth tlm. are colored in dull shades of silver, lue uad copper. From behind an easel st one side rises a eurl of blue smoke. Before the visitor aches the spot the head of the maitre ks out to see who Is troubling his work. ight. wiry, medium height, a thin, grave, gular white, its pallor intensified by gray bair and a black moustache, somber eyes, which regard one directly and re- tively—such is Gerome. In manner he 18 perfectly natural and kindly. The paliet and pipe are laid sside, the odel sent off, and he plunges at once into Fo ject which he knows iuterests me— 1s animal models. BXPLAINS HIS USE OF ANIMALS. “Animals for me," says Gerome, “are slmply accessores to my idea, They sre nover used to express it. They fill in, as does the bric-a-brac, the furniture or any essory. If 1 paint a Napoleon I put a llon because it helps the fdea, not for o sike of palnting a lion. The animals ‘a.‘.“' painted chlefly have been horses, , camels and lions, and that is so be- gause they have been most been the animals with which 1 eocisted and to which 1 attachéd. It has been my o study everything which eased my eye at the moment when I had it before me, to take my notes In passin and as 1 have had certain animals arou e o great deal, It is paturally those with which T have worked most. ““Thus I have worked a great deal on ’ulu, because I ride horseback and 8o keep the animals in my stables. When I want a horse as a model I use my own, and naturally 1 study them constantly from habit.” “I have lived much in the Orient and trayeled on camel-back. It was thus that I made my studies of camels. It was my habit as svon as dismounting to set up my easel in camp and go to work. Thus I caught the camel in all sorts of positions. While travel- Ing with a party there we even went so far a8 to adopt a young camel which had been abandoned by its mother. It was about the size of a large goat, and under our petting it became so familiar that it would come into the tents and even roll on the beds. Of cours it was a capital chance for sketches. “Dogs 1 have worked with in the same way. I keep them about me, being very fond of them, and have studied them constantly. When in the Orient I worked on the dog, algo. There Is an example,” and he points to a sketch on the wall of an Ori:ntal village street. Merchants are seated in front of a shop door and five or six rough, wolfish-look- ing dogs sit In a row facing them and eyeing them hungrily. *‘One picks up quantitics of such bits in the Orient, and they work in some time." “And_your lions?"” “Oh, I studied them in my youth for T was passionately fond of them. My models were always the cats of the Jardin des Plantes, where for a long time I spent my mornings. Whenever I have put a lion into a plcture, it is there I have gone for my models. But come and see my sketches, and you will un- derstand better how I work with animal models.” A GLIMPSE AT GEROME'S STUDIOS. We leave the big studio and go into & smaller one at the side, devot:d to modeling. It is filled with casts, rows of masks grin from the wails, busts and modeled limbs dec- orate the shelves. Everywhere is the fasci- nating confusion of the artist. In a corner Is a big cabin:t. Gerome opens the doors and there are rows of drawers, each marked. Cheval, Chien, Lion, Chats, Chameaux, Arch- itecture are & few of the labels. He opens the drawer marked Chameaux, takes out a portfolio, and there in order is arranged leat after leaf of studies made in the east; camels kneeling, starding, walking, sleeping, har- ness:d, tied, free; every joint, muscle, bone, from the nostril to the tail. All of them are full of life and truth, and many of them are as finished as are his pictures. . He opens another drawer and takes out the lions, studies of the same care, On many of them notes have been made. Here a paw in an equivocal position is marked droite, here gauche; here the measure- ments have be°n attached, so many cen- timetres from eve to eye, so many from nostril to mostril, so many for a claw. We pass the lions to horses, from horses to dogs. Everywhere there is the same quntity, the gape quallty, the same care in detail Afhazed and awed by the enormous amount of work® of which this great collection gave evidence, I exclaimed “But how have you done the work of a_lifetime.” FAITHFUL WORK OF FORTY YEARS He nodded. “For forty years I have worked desperately, 1 cannot leave it, If I travel I make notes from the car window, and I am no sooner off the train than I et up my easel. In the Orient I rode on my camel, sketch book in hand, and dis- mounting 1 painted while the men arranged the camp. I never leave my work. And I work on all sort of things, as you see,” pointing to the various labeis on the cabi- net drawers. “I cannot endure repetition; I must have something new. That is why 1 have taken up sculpture. My restlessness is unending, and in a new medium I find greater peace. And it is only by working constantly that one can succeed, above all with animals. One must take them as he can get them. for remember that animals will not sit. They must be studied and afterwards composed.” “But even if studied faithfully, as your sketches prove you have done, 1 do mot understand how you can get such a position as that of the dark cock in the Cock Fight n the Luxembourg." “Oh, that," the artist's grave face began to break. The memory was evidently gay, for the smile turned into a laugh. *Oh, that I got at the Jardin des Plantes. I turned a golden pheasant cock of the gamiest sort into a flock of commoner broed, and in an instant he had them all Qghting. 1 could have the taost exciting pbsitions concelvable at moment's notice whepever 1 wanted to work on my pigture. And one who hAs sver seen the picture, the mad- it? There is dened black cock springing high into the air over its cpponent, and who, at the same time, has ever interested himself in the interior history of a chicken yard where there were rival rulers, one of them “game,” will know that nothing but study from nature could have produced the re- sult in this interesting picture. And all of this work, this conscientious search for truth, is put on as an accessory. And no matter what the detail, swinging in- cense burner, Turkish rug, a Louis Quatorze interior, a_detail ct architccture, the sime study I8 given to it by Gerome as he gives to his animals ROSA BONHEUR'S USE OF ANIMALS * But if the an'mal is for him only an ac- cessory, not so for the greatest of his con- temporaries, Rosa Bonheur. For her the ani- mal is the raison d'etre of th picture, She does not paint to “tell a story.” There Is nothing “literary” in her pictures. It is a simple/ effort to reproduce what she sees. She revels in the beauty, the strength, the spirit of her subjects. In short, Rosa Bon- heur is simply and purely an artist, without other end in view than the aesthetic. It is one of the greatest elements of her success. Unquestionably her love of animals has de- cided the turn lier work has taken and made her exclusively an animal paint:r. The stories of her models are endless. When she first began work, It was to a farm near Parls that she went to study, and the good people of the place, flattered ‘that any one should care to regard their sheep and cows and horses so closely, gave Ler carte blanche on the premises When her first successes had engouraged her to continue her work on animals, she be- gan to surround herself with them. The Bonheur family lived at that time . a lit- tle apartment on the sixth floor in the rue Rumfort. Her brother-in-law, M. Rene Pey- rol, who lives in Parls, says of this small menagerie: “‘Before the window were birds, whilst the corners of the atelier were ten- anted by hens, ducks and pigeons, who en- livened the scene with their clucking, quack- ing and ccoing. In a neighboring apartment were two sheep and a goat, doubtless sur- prised at having left sweet pastures to find themselves_on a sixth floor flat. Every day her brothef took the sheep and goat out upon the Monceau plain, whose solitude had not at that time been disturbed by the enter- prising builder.” . But this little private menngerie was not sufficient for her studies, and Rosa Bonheur courageously went to the abattoirs and horse market of Paris to make her sketches, It was In these two places that she prepared for two of her greatest pictures, Labourage Nivernais and the Horse Fair. As fame came 1o her and money with it, she was able to carry out her dream, a secluded life in the country, where she should have her own horses, dogs, oxen, deer—even lions to work on. This she did thirty-four years ago. ROSA BONHEUR'S HOME. The home to which Rosa Bonheur retired is a small, rambling chateau in the village of By, on a hill overlooking the Seine. One climbs up to By through a multitude of yine- yards, for the entire hillside s laid out in terraces covered with grapes, and protected by high walls. The view i extensive and beautiful from the chateau, but perhaps the chiet charm of the place s Its proximity to the forest of Fontainebleau, to which the park extends. The high walls which surround the house and garden forbid curious prying, but, never- theless, the villagers of By tell most curious stories about the inpates of the chatéau. And it is not to be wondered at. Every time the gate opens to let In or out a per- son, a new animal I8 seen or fubposed 12 be seen. When Rosa Bonheur ;oah alking, followed by a troop of dogs of all igqu attended by a pet monkey, uually é her shoulder, some curious report is started. Her long drives in the forest, the #nimal which escape now and then, the arrivals of mustangs from America—Buftalo BjlI Ro and ot jent Bonheur some (o yeqrs ago—df bokbh, gazelles, even of 1idns, excite the imagination and loosen the tongues of peas- ants and villagers, and one to believe their tales would suppose that the zoos of the earth were mere barnyards beside the park of the Bonheur chateai. HOW ROSA BONHEUR ANIMAL. It 1s on animals {hus obtained that Rosa Bonheur worked. For wvery that been at By PAINTS AN imal ni 8¢l it ket b 4o, Kad (he. Yolwminass Dhctiolos srammed with ell, crayon and i oil studies in all stages of deveiopment. One traces here admirably the preparatory work for such a picture as the “Horse Fair, for instance, Horses rearing, plunging, running, walking were studied for months for this picture. Here a pose, there a muscle, now a group, now a single animal. Persons who have never sketched or handled a brush are apt to suppose that an artist paints an animal as he does a man, that is, that he poses it and copies it, but the first reflection will show the impossi- bility of such a proceeding. The artist can- not pose an animal. He must know him thoroughly, under all conditions, before he can paint him, and this study can only be carried on by remaining near the animal and catching him bit by bit. This is what Rcsa Bonheur has spent her life in doing. SHE LOVES HER SUBJHCTS. It is unquestionable, however, that in working on animals she has had a decided advantage because of her genuine love for them. Her robust, fearless nature sym- pathizes Wwith the strength, the calm, the flerceness of her models. ' She dominates them, or better, perhaps, becomes bon camarade with them. This power extends even to wild beasts. The story of her lion “Nero” has been often repeated. This beast, a fierce and unconquerable animal, was taken to By some years ago. ~Almost immediately Nero recognized his owmer as a friend and he would actually seck her caresses, reaching his great paw through the bars of the cage to be petted. Sold, after a time, and taken to the Pain Zoo the poor fellow lost his vision. Rosa Bonheur went to see him at the Jardin des Plantes and called to him suddenly from tho crowd In front of the cage, “Nero.” Tho animal sprang up instantly at the sound of her voice and sought to find the volce of his mistress. This power over wild animals has been constantly exercised by Rosa Bonheur. The explanation of it that the great artist gives is simply that she loves them. HOW BRITON. RIVIERE USES THE ANIMAL. Gerome uses the animal as an accessory, Rosa Bonheur as the end and aim of her picture. Different from both in the use be makes of the animal is the English artist, Briton Riviere. The picturss of Mr. Riviere are well known in America, from the fact that he has been 80 extensively and so admirably engraved “Persepolis,” the “Double Entendre,” “The Last Slcep,” “Daniel's Answer to the King," “An Anxious Moment” are perfectly famiilar to every lover of enmgravings. In all of them Mr. - Riviere. alms to ‘do- something more than. to paint an animal. He has a story to tell and wses the animal as the chiel means of e¥pressing his ideas. The use he makes of the model and the relation of his sketch or'study to the actual pleture - Mr. Riviere had the coubtesy to explain ‘to me #ome months ago in his ctirming English home, Flaxley, In Finchley Road, Lendon. The animals’ which he prefers and with which he is most at home are the dog, the llon and the pig. . He has also painted many birds, especially eagles and_geese. DOGS ARE THE EASIEST MODEL. “Dogs, of which I have painted perhaps more than anything else,”” says Mr. Ri- viere, “are the least difficult of my models. I'gpt the animals’ usually from dog dealers, but I rarely work from them unaided. A man holds them. I find it almost as difficult to find a proper person to hold my dog as I do to get him to pose, for it must be a person who loves and understands animals if he is [ 4o anything wI{h them for my purpose. ) Whip them, to try to cow therp, is quite AT e TR O TR the anjmal that he will do what you wish. All animals are dificult models, but dogs, owing to their inte[ligence and obedience, sit ttor than other animals, especially If ac- fipanied by one who knows how to manage In painting animals my practice fs not, however, to copy the model. I have my idea of a dog, amd I uso perhaps a half dozen dif- ferent models in workingsout what I want The dogs of my pictures Huve ull come from here first,” laughed Mr. Riviere, tapping his forthead, *not by copylng any one specimen Nor ean they be sald to come simply from the study of the model used for a single pleture, Each animal is an accumulated experience, the result of past sketches, past studies, past notes and past observations. 1 am always taking notes, mentally or on paper, not on random subjects, but which bear upon thy ideas which I have In mind, and thede nof work in when I come to my picture. Fre- quently In painting something I have se:n or noted long ago comes back to me and fur- nishes the means of doing exactly what I need to do at a certain point.” “But do you mean to say that you have no pose for a picture like the ‘Double Entendre,’ for instance?" “No,” sald Mr. Riviere, ‘there's a subject where the impressions of my boyhood come in. That is a thing I have seen, and I am able to reproduc: my Impressions by the help of models In quicscence, though I could not do It were it not for my ‘accumulated experi- ence’ in studying pigs. Pigs arefhot trouble- some models; in fact, they sit very still. 1 hav: even kept them, though I do not often keep animals for my work. 1 had one once for some time, which became very tame and quite accustomed to the studio, and which would sit to me almost without difficulty RIVIERE'S METHOD OF STUDYING LIONS “As for lions, of which I have done many they are most trying. Nothing can be done with them, and on: mus X can get them, I do my studies of living at the Zoological gardens. Whencver 1 hay any serfous work to do I go there early in the morning and leave at 9, when the people b:gin to come. But what I do is not to copy the lion, it is to make studies of parts, catch movements and make notes.” 2 nd your study of the anatomy of lions?'" That,” said Mr. Riviere, *“I have done chiefly in the dissecting room of the ‘Zoo.' When there has been a d:ath among the lions, the curator has been kind enough to inform me, and has allowed me to make stud- ies when the animal has been skinned and dissected, and 1 hav: frequently had casts made of different points. But a dead lion will not do as a subject to palnt. It cannot be put into litelike positions; its muscles have sunk and stiffened. It is dgad, and what I want is life. I never but onct painted a dead lion. Th> animal was sent me from the ‘Zoo’ immediately after its death, and I put it on a throne and painted it as ‘The Genius Loci.' In that case it was possible to follow the model. Dead subjects are useful for the skin, which of course is not changed.” In Mr. Riviere's beautiful studio, where the fine array of pictures for the forth- ccming academy was exposed, {8 shown more clearly than ever the way in which the lion scrves as his model. Here is an anatomical lon, on which he has been working for years, getting now a muscle here, now one there, correcting this point by a fresh visit to the dissecting room, that by notes taken In the “Zoo.” It is “accumulated experi- erce.” RIVIERE'S PATIENCE IN LABOR. The difficulty of the work is enormous. It Is a simple matter comparatively to take the dead animal and reproduce his muscles and sinews, but to make a living body stripped of Its skin and showing just how every line pulls or relaxes in a given movement is arother matter. The difficulty is well shown in the studio, where there are numerous casts of limbs of. dead wolves and lions, made at the "Zoo" for the artist. They show how when dead the muscles fall away, and a limpness and inertness succeeds, which is far different from the vitality in a limb of the model of his anatomical lion. “I have been several years at it says Mr. Riviere, speaking of this model, “and it Is mot dome yet, but when it is done I hope it will be useful to painters.” And there are people who talk about “dashing off”" work. A bronze which Mr. Riviere sent to the acudemy this year Is a capital example of his method of lion studying. The beast has thrown its front paws high agalnst a rock, its claws are thrust out in a spasm of pain ang its Lead is thrown back in agony. The back limbs drag heavily, half-paralyzed by an arrow which & hunter on the top of the rock at which the wounded beast |s tearing bas shot Intg itg flgnks In suck & way as to plerce the nerve cgnter. DIFFICULTY OF GETTING ANIMALS TO POSE. “Naturally,” says Mr. Riviere, “it would be impossible to get & lion in that position; were it & man it would be different. You can explain your ideas to a man, strip him, and, he belng intelligent and obedient, helps you' to get the pose you desire, and you paint him as he fs. A lion lles down when you want him erect and moves about when you want him quies. There s nothing \o do with him but study him as he is, catch today a bit, tomorrow another, accumulate and correot uakil you have whal you sesk. “Sometimes I W nni with dogs, even when I bave my model in my studlo, I am TO LUCILE. Oh! never from my soul, Lucile, Shall cruel Time's grim, grasping hand The memory of our meeting steal; I the unrelenting band obliged to wait a long time before I can catch the pose I want. It may be a very little thing, but T have my idea of it. I krow what I want, but I must have a_touch of nature to enable me to carry it out. Often for a long time my mod-i cannot be mado to do what 1 wan ch waiting 13 sometimes almost agoniz Mr. Riviere's relation to his model is, in fuct, an interesting psychological study. He never follows it ctly, but he cannot dispense with it. In the academy pictures of this year there is one called “Eyes to the Blind.” bggar sits by the way, and on his k alert wide-awalce terricr watch The animal expresses admirably the vivid contrast sought. I had a model for that dog,” says Mr. Riviere, “but you would not know him if he were here. I did not copy him. I painted the dog I ha in mind 1 could not have done the do of my fancy if I had not had a live on before me. It s to me sometimes (hat I scarcely look at my model, yet I must have him there. I suppose I look at him oftener than I am aware. However, 1 never copy him. RIVIERE'S USE OF BIRDS. What he does for d:gs and licns he does for birds. Among the academy pictures is The eagle is superb in. its o strength, its easy flight. “Eagles I y at the ‘Zoo,' as I do lons,” said, Mr. o bright he 00 quick ’ viere, “but much more Is to be gitten | we bart Lunin o o, (0o duickly’ aped! from a dead eagle than from a dead lon. [ _Alas! for me the lght is fled. You have the featbers Intact. Then the | Yet, one last joy from thee L'l steal, wings do not beccme useless from death, | This kiss, and then—farewell, Lucil but can be spread and wired into lifelike positions it you have studied from life sufficiently to know what these positions arc. 1 ‘can imegine that a painter who should attempt to paint an eagle simply from @ study f dead medels would arrive at curious results. . To study birds adequately gne should go far beyond the zoological gar- den “And your geese?’ I asked, rem. the delightfully hum he world, to me so dark before, Is now alight with sudden jo; And thy fair form the Gleaming, , without The light of love hath Who lately to n doll-like athes in te divine; T there, like things of air. hy dark eye: real rest. Orient dyes Ly dark’ eyes! mpart a soft eth Ah! shadows of Lie in the depths But w v ild I thy praises sing, And hop thee, and dream of bliss? Little to thee my hand could brin ve n rude scng, or lay like this; Too well, the lonely poet knows, Does be love lite's golden Shows. Farewell, farewell! the dream 1s o'er! El 10N Burmah is to have a government en Ing school. Chicago has 8,788 teschers employed In her public schools. There is a marked fncrease in the re tion of the University of Minnesota. Japanese graduates of Cornell university have organized an Alumni assoclation at Tokio, N. P. Coburn, the founder of the Coburn library at, Colorado 'college, at Colorado Springs, died recently, and left an ade ditional bequest of $10,000 to the library for the purchase of books. Prof. W. M. Ramsay of the University of Aberdeen, Scotland, will lecture at Harvard university, the Union Tneological seminary and at the Auburn seminary this fall. It fs Dr. Ramsay's book on ‘The Church In the Roman Empire before 170, A. D.,” which won for him the rare distinction of a gold medal from Pope Leo XIIL An English paper says [that woman of Girton college, advertised for a classic: oach,” meanin of course, a private tutor. After a_ time received a letter from a local coach builder, who sent her a pressing Invitation to ine spect his stock, and offered even to bulld her one In the classical style, adding that he knew exactly the class of article she wanted. A recent number of the Journal of Eduea tion had & very interesting and instructive article upon the comparative costs of war and of education. There Is no better propf of the barbarism of even the most civilized nations of the world than s afforded by & comparison of the sums expended for the maintenance of physical supremacy, 15t the expenditure for mental improve: ment. Though It be assumed that brain is better than brawn, there s little evidence that statesmen so regard it From tables complled by the Journal of Education, we take the following, which+gives the amouhts per caplta expended in various eivilized and enlightened countries for military and educational purposes, respectively: Military, 00 .78 Zog 204 136 nbering e, rous “An Anxious Mo- and the ducks In “Last Spoonful.” My geese,” and the remarkable delicate, appreciative smile of the artist came quickly and went. “I have had them running about and caught thelr movements as they went. They become very tame, and one can study them at ease. Then they are very good models and will sit quietly for a long time on the knees of a person, but it is with them as with all my animals, 1 paint them as I have pictured them to my- selt, and my model is the correction of my ideal, not its source. And so it is With all Mr. mal_subjects, Riviere's ani- They are used to study, not to follow. Take the puppy study given here. “‘Those puppies I had tumbling about my studio, and I made notes of them, as you see.” And these notes, with others, became the “‘accumulated experience” which has resulted in some as Irresistible and rol- licking little plece of puppy flesh as ever tumbled at the wrong moment under the foot of the unsuspecting. In the experience of all three of these artists with animals the thing which first strikes one and which grows more and more Impressive as one talks with them and looks through their sketch books, is the endless patience painstaking which they have been cbliged to use in handling animals. To catch a particular movement they must watch and wait for hours To arrive at anything like a respectable knowl- edge of the anatomy of an animal they must study specimens, dissect and model To obtain specimens they must travel, haunt “Zoos," markets, abattoirs. When years of such work have made them familiar with three or four different animals then they paint, but only then in baving before them the medel which gives the hint of nature, which is essential, whatever the power and experience of the artist. Verily, when critics and admirers say of tho pictures of the great animal painters that they are ‘“products of genius,” they scarcely realize how large a part of that genius is downright hard work IDA M. TARBELL. R L Pauperism In England. Pauperism bas greatly declined in Eng land since 1571 The proportion of child paupers has changed t™m b to 2.3 per cent that of the able-bodied from 1.4 to 6 per cent, and that of the old paupers (above 60) from 215 to 13.7 per cent of the popul:- tion of the veral ages. Since 1858 the paupers who are mot able-bodied have de creased not only relatively, but absolutely, by 30,000, A young Cngland, recently Education, France . 3. England Pruaia Russta Austria ', flaly Denm Hollana Switzerland ||\ United Statés. : 3 Pt ST Sore. Indianapolis Journal: “Excuse me," the hotel clerk, “but gou register your home addro “If you must kuow, snarled the mas with the alligator vallse, “I'm from Terry Hut, darn you, end Nancy Hanks is the fastest trotier lu the world, sayhow,” said ve forgotten to

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