The San Francisco Call. Newspaper, August 18, 1895, Page 13

L THE SAN FRANCISCO CALL, SUNDAY, AUGUST 18, 1895. This is not your place primeval; Not your native clime; Hither borne in medieval Unremembered time, By some western wave” Make the legend mine. Tell me your tradition hoary, Grand old Cypress Trees, Dwelling on this promontory By the Sunsect Seas ! ‘Whisper the dclicious story Of dim centuries! upheaval : From the vast and velvet branches Of a patriarch tree ; Mingling with the songs and dances, Of the restless sea ; Freighted with its fragrant fancies, Came the tale to me. Long ago from far Benares Grove of Cypress Wood ‘Went a band of missionaries, Devotees of Boodh ; E Bound to build new sanctuaries For the spread of good. Sailing by a course uncharted, Wandering, but not lost, This small band of noble-hearted Long on Ocean tossed, By the law of Karma guarded, Gained this rocky coast. Here the pious exiles landed, And upreared a shrine; Seeds of sacred Cypress planted, For the grove and sign Of their mystic creed, commanded In its books divine. Found the fair land all unhaunted By the forms of men; Rested in its vales enchanted For a space, and then, Urged by purposes undaunted, Set to sea again. Through the centuries’ slow transition, Since they sailed away, We have kept the sweet tradition, Treasured to this day; ; Kept the faith which finds fruition Still in far Cathay. And in all our somber glory, Guard a sacred shrine; Cluster round this promontory, As in olden time, To repeat the fragrant story, Which to-day is thine. E. R. J. 13 THE NEW MUSIC FOR “AMERICA.” The words of “America’ were written by Rev. Samuel Francis Smith of Boston in 1832, and heretofore have been sung to fare eign music only. The English use the same tune when they sing “God Save the Queen.” It is but natural that Americans should be desirous of having the beautiful words, *“My Country, 'tis of Thee,” set to a native air, if for no other reason than National pride. The following melody is an American composition and will afford a choice to those who prefer both words and music by their fellow-countrymen. SAMUEL FRANCIS SMITH. AMERICA. ‘WITH AMERICAN MUSIC. GEo. M. Viorrzs, ~ 1. My coun-try,’tis of thee, Sweet land of lib- er-ty, Of 2. My na-tive coun-try, thee, Land of the no-ble free,Thy 3. Let mu-sicswell the breeze, And ring from all thetreesSweet 4. Our fa-thers’God to Thee, Au-thor of lib-er-ty, To . PR e e : £ .y } s - » v v Thee we si A loes = —— - — — e —eo— thee I sing; Land where my fa- thersdied, Land of the " name I love: i love thy rocks and rillsy, Thy woodsand: free-dom’s song : Let mor- tal tongues a-wake, Let all that Long may our land be bright With freedom’s ho - ly Ij pilgrim’s pride, tem- pled hills, breathe par-take, ight; = From ev -’ry mountain side Let free - dom ring. My heart with rapture thrills Like that a - bove. Let rocks their silence break,The sound pro - long. Pro - tect us by Thy might,Great God, our King. ! The composer of the new music for “America,’”’ George M. Vickers, was born in Philadelphia in 1841. During the Civil ‘War he served in the Unionarmy and was | wounded in the battle of Glendale, June 30, 1862. He has written and composed about 600 lyric poems and songs, which are | published and sung throughout the world. Among his greatest successes are ‘‘Guard | the Flag,” of which over three million | copies have been sold, ‘“Columbia, My Country,” and many other pieces which | are familiar to the public. The United States has many patriotic songs and anthems, for the ambition of every American poet or composer:seeks no higher glory than to write or compose his country’s song, which would be a mon- | ument to his memory as lasting as the | Republic itself, The United States has never formally, either by act of Congress or proclamation of the President, adopted a song as the accepted lyric of the Nation, but by common consent the “‘Star-span- gled Banner” is recognized asthe Ameri- can National air, both at home and by for- eign nations. A National song, to be appropriate and _ Copyright, 1895, by Gx0. M, VICKERS, consistent, must, in the first place, have | words that in themselves are inspiring,] and which contain no allusion to events | or persons—words that can be sung| eiways, breathing only patriotism and devotion; in the second place the music must be majestic, simple and well marked, with sufficient pathos to touch the heart; moreover, the melody should not fail to possess a distinct originality of construction, at least to the extent of de- fying the charge of plagiarism. Such songs have been written by most nations, and it is absurd to think that Americans lack the ability to do likewise. ‘Yankee Doodle” (the words) appeared about 1775, but it was after the Declaration of Inde- pendence that it became popular in the American camps as a soldiers’ song. The melody is very ancient, some writers | declaring it to be an old Spanish national | | air. It has done good service, how- | ever, since the birth of our Nation, and | | has thrilled our warriors with patriotism on many a battlefield and weary march. Whatever the origin of “Yankee Doodle” may have been, it is now America’s song and will be always. “Hail Columbia” was written in 1798 by Hon. John Hop~ kinson of Philadelphia and was set to the music of the President’s (General Wash- ington) March, the melody of which was composed by a German music-teacher named Philip Roth. The words were written to suit. the times, as the line, “Behold the chief who now commands,” shows conclusively. “The Star-spangled Banner” was written by Francis Scott Key, a Maryland lawyer) in 1814 ; the music is an adaptation from a foreign air entitled “Anacreon in Heaven.” The words record an historical event; butno one will deny the beauty and strength of both words and music, and, as “The Star« spangled Banner” will always be sung, whether as the officidl song of the Nation or not, it seems strange that no one has ever suggested a revision of the words to the degree of conmsistency. ‘‘Columbia the Gem of the Ocean” (*‘The Red, White and Blue”) was written and composed by David T. Shaw in 1843. It is a spirited, patriotic song, and is distinctively Ameri. can. “Guard the Flag” was written and composed by George M. Vickers, a native of Philadelphia, in 1888. THE SLEEPING CAMILLE. Matilda Heron’s Unrivaled Reign on Two Continents. Frequently has thequestion ‘“Why. has 2 e;’ a play which attracted so largély decades ago, been dropped aimost from the stage?'’ been. put to me. swer: is that there is no one to-day portraying this grandly aracter as has been done by Camille,” Matilda Agnes Heron. n attempted by many since ed this. beautiful -woman, powerful work, living in the of . her . ddmiring - surviv- stands out so over- erior t0 any subsequent at. - the” comparison has imitation excepting that of Clara Merris; In thecourse of & quarter of ‘ace rio doubt, the majority of those meé s will have died with their ssors, and. the fact that the name of Matilda Agnes ‘Heron iz alone identified with~the ‘character of Camille will have become’ but a matter of histery. Then, it is:quite probable, the pub! ed 10 accept such. ‘Tendition of the he; ne ‘as. some ‘‘star’* of the time skall choose to present. Miss Heron was indeed a great artist, possessing a -very remarkable elemental power. .She had a wildness of emotion, a force of brain, a vitality in embodiment, and miany indefingble magnetic qualities, thif. combined to make bLer -excéptional amoéng: human -creatures. Those who knew her remember her’as a woman un- usual “ for personal charms—strong and fine “in . physique, with. dark hair, dark eyes, .and-a’ beautiful white complexion— #uf miore unpusual for-an electric sym- pathy. of temperamert that captivated :y-heart. - She was never more at her than in *“Camille.”’. She appeared in other -parts, but that was the part she always acted; and though, it is true, she may have: refined upon her method in after yeéars, she never acted it better than at the first. It afforded. the agonized and agonizing situation which alone’could serve for the utterancé of her tempestuous nature. Once, in speaking to an author regarding a play that she wished to have written for herself, she was careful to state that the heroine smust be *“a lost woman.” " No doubt she knew, as every- body knows; that a woman lost is not a particle more dramatic than a woman foun: but she loved the’ storm and reveled in the reckless agony of a nature that is at war with ‘itself. The woman knew_what it is to love, and what it is to suffer .through the -truth er through the consequences. of that awful and tre- mendous rassinn. ‘When, in the first act of “Camille,” she used to rush forward and sob out the exclamation, ‘Respect. me—and in this house!”’ she made the heart of every man who heard her stand still in his bosom; and when she parted with the lover whom she never meant to see again in’ this .world her agony was so great .and so_real that few could look upon_-its exhibitiop.. Hers was not, perhaps, the power of ‘imagination—that seizes upon an ideal and enables the artist to rise out of this actual world and embody a creatte of the poetit: brain, like Lady Macbeth—but hers, beyond all dounbt, was the human Woman’s :heart, that had soundeil every depth of passion and could embrace all possible experience of woman in that wurlg of love which is 80 essentially own. And while she:was thus human “224d passionate in fiber, she was weird and fascinating in her’ individuality. All her ways were her own; and the eyes followed ic’ will be pre- | and struggles of .tlie_younger Dumas’ | her with a strange kind of delight at abso- lute newness and formidable sincerity. | Her Medea was half a prowling maniacand | half a reckless slouch, with now and then |a gleam of fateful fury, like fire that sireams through the suddenly opened mouth of a volcano. Her Edith, Sybiland Geraldine were erratic and bizarre figures, to be remembered for strong and surpris- ing points. Never was the sense of an original, vigorous, brilliant and startling | personality missed. She was an actress of | the passions—of the passions in their uni- | versal ebb and flow. The sortof nature | that, unless it be curbed by a prodigous | moral sense and intellect, inevitably breaks all the bounds of a serene life. In a_beautifully picturesque spot in | Labby Vale, near Londonderry, Ireland, was the Heron homestead, into which, on October 7, 1830, Matilda Agnes Heron | made her infantile debut. She came to the United States with her parents when a mere child. While still very young she | studied dramatic art under the direction | of old Peter Richings, manifesting de- cided talent. Her first appearance on any stage took place on February 17, 1851, at _the Walnu et Theater, Philadelphia, as Bianca in io.”” 1In 1853 she left for | California, where she met with wonderfal success. Then fame and wealth were | rapidiy acquired. During this time Miss | Heron had among her many admirers a favored one of the name of Henry Herbert | Byrne, a rising young San Francisco law- ver, with whom she contracted a secret | marriage on -June 11, 1854, the sequel to was a separation after the brief néymoon of five days. Shortly after the demise of this tragic | actress the following story came to light: | “Among the host of friends Miss Heron’s talents gathered around her none were more assiduous in their attentions than Henry Byrne, and their friendship having developed into a deeper affection it was an | honest wish of his that she should | e her profession and become his wife. T, Miss Heron did not want to do, as | arrangements had been completed for | her brother to escort her abroad, and she desired to defer her marriage until after herreturn and the fulfillment of two the- atrical engagements she had made. At Jast, moved by his frequent solicitations | she consented”to a secret marriage, 2n became “Mr. Byine’s wife, both determin- ing not to reveal their relations to each other until after her return and the com- pletion of her theatrical coutracts. ““With loving words and bright hopes for the future they parted, the wife, accom- panied. by her niece and brother, to go in one of her father’s vessels to Europe; the ‘- husband, with fond expectancy, to await her return as the realization of all his dreams of happiness. ‘At a. social dinner of gentlemen, Mr. Byrne being present, conversation turned i’f"" women, and mention was made or iss Heron’s remarkable ability, when some one sneeringly alluded to her being an-actress. At this Mr. Byrne requested that Matilda Heron be spoken of with more respect, as he would answer for her being a lady. One of the party satirically remarked, ‘Probably she is as much of a lady as is the original of this,’ taking a daguerreotype from his pocket and handing it to his next neighbor at table, who, in turn, passed it to another. Every one upon_seeing it exclaimed ‘Miss Heron!|’ r. Byrne, looking at it, said, ‘My God, where did you get this? ‘Gentlemen,’ re- .plied the owner of the picture, ‘this is not E{iu Heron, but a picture of her sister, called Kate Ridgely, the proprietress of the New York House of Mirrors.’ The effect of the statement upon Mr. Byrne may be imagined, he being an excessively roud man. “The irregularities and uncertainties of | w | b writing about this_affair to his wife, and he long kept brooding over the matter. Her silence on the subject he is said to have considered willful deception on her art, and gradually his mind became ginsed against her.” Upon her return to this country, he met her at Pittsburg and at once broached the subject that seemed of such importance to him, reproaching her for bringing a stain upon his name and deceiving bim. How could he take her to California and acknowledge her as his wife, when her sister’s position was the talk of the State? Thisand much more he said, and those knowing Miss Heron’s high spirit and intezrity of purpose will not wonder at the reply she made him: “‘Seventeen years ago,’ she said, ‘I re- member as a child seeing a young widowed sister an inmate of my father’s house; then she disappeared, my brother followed, was absent two or three days, and re- turned, bringing her little girl of 2 years with him. The child was brought up in my father’s house, but her mother's name was never mentioned in the family, I have heard that I re- markably resemble, in form and face, that sister; but since childhood I have never seen her. What temptations and trials caused her fall I do not know, but wherever she is my prayers will foliow her. As for my not showing you this blotted Fage in our family history, I did not think of it in connection with our affairs, but now, thank Heaven! our marriage was a secret one. You return to your friends—henceforth I will be wed- ded to my profession.’ “After-retlection changed Mr. Bymne'’s view of the subject. He followed Miss Heron to New York, urged her to forgive his injustice, and return with him to San Francisco; but all his Eersuusions, aided by the entreaties of her brother (whom he had enlisted in his cause), did not avail to change her decision. Ambition took the place of love, and made her heart dumb to all his pleadings. Fimding there was no hope, he finally consented to a separation, though neither of them ever obtained a divorce. On being asked why she did not refute the aspersions made upon her character by publishing the true facts connected with _the separation of Mr. Byrne and herself, Miss Heron said: ‘I could not doit. The sis- ter who was the unfortunate cause of our trouble could not cling to evil; bitterly repentant, she changed her course of life and has married a gentleman of position and wealth, after making him acquainted with the errors of her past. Now sheis aged and her days are spent in doing good to others. If I wrote a vindication ot my~ self the public would expect names and particulars regarding ber which would tend to humiliate her deeply; therefore I will bear it for my sister’s sake.’”’ Mr. Byrne returned to California, where he soon afterward died. Miss Heron opened an engagement in New York City, which grove a brilliant success; after which she appeared throughout the coun- try, and, returning to New York in 1857, was much admired at Wallack’s old thea- ter as Camille. In December of the same year she mar- ried Robert Stoepel, a German musician of considerable ability and reputation, who was at that time orchestra leader at the above-named theater. After an ex- tended tour through the States they visited En&nnd. pon returninfi to America with her voung daughter, Helen Wallace Stoepel, Mrs. Stoepel separated from her husband, beirg ever after known as Mme. Heron. Her whole interest was now centered in this child; her affection for whom was actually tigress-like in in- tensity and exclusiveness. Bijou, as the child was fondly called, was the day star of her existence; she feared lest any one should ever draw away from her the small- est particle of the little one’s love. Many of the eccentricities of the later years of “Camille’s” life were traceable to this morbid affection for her little daughter. The woman's soul was wrapped around the girl. At a merry party of friends assembled in New York City to celebrate the thirteenth birthday of little Bijou, Mme. Heron, then in her happiest mood, spoke of the future, and her eyes filled with tears of pride as she led out her P 1 the mails was Mr. Byrne’s excuse for not | little girl, who nestled lovingly by herside, and said: ‘“When Matilda Heron is gone, and that will not be long, you will all soon forget her; but here is her picture, her very life and soul—take care of my Bijou!” An enormous fortune was amassed by this great tragic actress during her re- markably eventful theatric career, her carefully kept diary showing that her re- ceipts from “‘Camille” alone had reached nearly a quarter of a million; yet, owing to expensive habits and luxurious tastes, she was, during her later years, entirely dependent upon her little daughter’s stage earnings and her own_small income derived from her instructions in stage elocution. This condition, with ordinary prudence, might have been avoided. In- deed, Mme. Heron might have been wealthy had she but limited her expenses to any reasonable degree. Even at the height of her success, when managers were paying her great sums, her agent, with much diffi- culty, kept her suppiied with funds. She welcomed not only friends, but all whom she_met, to a table bountifully laden with choicest viads. Her most modest meal was a sumptuous feast. Then, again, while she numbered among her posses- sions numerous costly jewels and rare laces, as well as a surprising amount of elaborate goods of every description, yet for her to see an expensive article of rarity and oddity immediately summoned an un- controllable desire to possess it, and she would at once obtain it, regardless of cost. The annual amount of her livery bills alone was ample to support a goodly sized family. She followed the scriptural in- junction literally, and took no heed of the morrow. | That this life of revelry could cease | never occurred to her mind, and when her | resources were finally exhausted. her ex- travagant desires still remained, and it | was indeed pitiful to note her disappoint- ment and surprise in being unable to firatiiy them. And with this depletion of er funds she bitterly experienced the cutting-off of her association by those she s0 short a time before had entertained as ““friends " At this point her halo of fame was trans. formed into a glare of notoriety. With de- cline of popularity, in every sense of the word, her life naturally became a troublous and sorrowful one. er ability was soon forgotten, and she was remembered but as a flighty relic of a past decade. Finally, realizing her unfortunate position, she be- came embittered and at emnity with the world at large; her thoughts turning to her Creator, finen her life became one of profound devotion, and she sought in prayer the peace of mind she could not otherwise obtain. Matilda Heron’s last public appearance took place in April, 1876, at a performance of “‘Medea’ for the benefit of her daughter. Shortly after this, during the initial per- formance of a pretty little play, in whicn Bijou took a minor party, the attention of the audience was divided literally between the players on_the stage and a woman in the corner of the dress circle, who, at every point of interest, to her, stood up and wildly waved her arms and handkerchief in token of admiration. At first the inter- raption was quite offensive, but as the pla; went on Mme. Heron was recognized, an sympathy for the mother joined hands with pity for the weak, and turned the offending to a pleasure. Early in November of 1876 Mme. Heron was taken seriously ill, her comfhint being internal hemorrhage. It was clearly evident, she being but a shadow of her former self, that she had not long to live, In her sadness and affliction she felt she haa but one earthly tie, and that her lit- tle 13-year-old Bijou, who watched long and patiently at her mother’s bedside. The once famous actress’ heart was con- centrated upon the pale, shrinking child beside her. ‘When from her pallid, trembling lips as she was about to pass to the great beyond, issued the pathetic expression, “Poor Til- lie! Jou have never done wrong to any one,” she fervently embraced her darling daughter, and then exclaimed, “Oh! 1am she objected strenuously to any efforts to prolong her life. In compliance with Mme. Heron’s re- uest made to Bijou, although a devout oman Catholic,” her funeral ceremony took place at ““The Little Church Around the Corner,” so dear to every theatrical heart, the Rev. Dr. George H. Houghton officiating. A time is not known when there were together assembled so man professional lights as at this funeral Among the honorary casket bearers were: Edwin Booth, Lester Wallack, A. M. Palmer, John Brougham, William J. Florence, Dion Boucicault, Joseph Jefferson, William H. Crane, John Gilbert, and several other eminent mem- bers of the dramatic_profession. It was the sincere regret of Edward H. Sothern that he was compelled to remain away. On leaminF of Mme, Heron's death he im- mediately left Providence for New York, although seriously ill with throat trouble. On his arrival he was obliged to take to his room, where he was confined for fally a week. Hisabsence from the funeral was marked at the time, as it was to Matilda Heron he owed his theatrical success, his first stage popularity being gained in the part of Armand, Camille’s devoted lover. Mme. Heron’s broadcloth-draped rose- wood casket bore two silver plates, the one bearing an inscription of name and dates of birth and death, the other the footplate, simply ‘‘Camille.”” There was a Exofu:ion of choicest exotics, but the ower most in evidence was the camellia. The chancel was an ideal wilderness. A small fortune was expended in these testi- monials of affectionateregard, and to those who knew the sad straits in which Matilda Heron frequently found herself it seemed almost a mockery to lavish over her dead body the means which she had so much needed in times of destitution. The foliowing week Mme. Heron’s child was officially placed under the guardian- ship of Albert M. Palmer, her mother's sincerest friend, whom she had repeatedly xought by letter to care for her *‘precious all’” when thrown on the mercies of ““the cold and cruel world.” By an act of the New York Legislature, shortly afterward, the name of Helen Wallace Stoepel was changed to that of Bijou Heron. This child, now over 30 years of age, 1s Mrs. Henry Miller, the devoted wife of Actor Miller, who achieved considerable success throughout the country, especially in the “‘Shenandoah’ and the ‘‘Masqueraders.” “Camille”” had selected for her epitaph, the words, ‘‘Here lies the Belle of the Season.” in the early days of her theatri- cal career, she wrote and produced, herself appearing in the principal role, an emotional play, entitled, “The Belle of the Season.” It roving unsuccessful financially, and not being of a character to draw out Mme. Heron’s great power of expression and dramatic action, her man- ager urged that she withdraw it from the stage, whereupon she insisted with her usual determination that ‘“The Belle of the Season” she wanted to pln{. “The Belle of the Season” she would play, and that when she died she wished nothing placed _above her but the epitaph: ““Here Lies the Belle of the Season,” but as yet her grave is unmarked by stone or inscription. L 3. Matilda Agnes Heron was impressively entombed in Greenwood Cemetery, Brook- lyn, when the sun was decliningin the western horizon. A mound ot English ivy, surrounded by a framework of pink and scarlet geraniums, now covers her grave, which is situated in her sister’s platin a lovely dell of this far-famed ‘“God’s Acre.” Ever since the demise of this renowned woman, her daughter Bijou has seen that the ve has appeared as a blooming flowerbed. Close side her rests the one-time idol of Matilda Heron’s heart, “Little Marie,” a child of *‘Ca- mille’s” first-love husband. This child had been the apple of her mother’s eye. She was dre: and decorated like an ideal beauty queen; elaborate silk and satin frocks, costly zems, expensive laces, and all that unlimited layishness could 80 hnqp .’ And she who had simulated painfu! dventh a thousand times, expired peacefully at last on Wednesday, March 7, 1877, at her home, 132 East we‘n‘tly-flft.h street, New York City. For seve: previous, being perfectly resigned to die, . supply, made this ethereal-appearing pet .npxrniivaled attraction. But herrej, n"v):s short-lived. After a very brief illness, she breathed her life away. The brood- most intense, yet even to her most inti- mate friends and relatives she would never | even mention her departed darling’s sa- cred name. Many dreamless sleepers surround Ma- tilda Agnes Heron’s final bed. Isabella Cubas-Blasco, the bewitching Spanish danseuse of another generation, rests but | a few rods away, in a friend’s grave; Laura Keene, the historic actress of Lincoln’s time and death; James Kirke Paulding, the historian and bosom friend of Wash- ington Irving, and Wiison G. Hunt, the multi-millionaire merchant, who assisted Cyrus W. Field and Peter Cooper to insti- tute the Atlantic cable, are awaiting res-| urrection near her restini{nlace. | Well might Matilda Heron say at the | close of her eventful life,in the words | which end the play with which her mem- ory will ever be identified: “All the pain is gone! Is this life? | Now everything appears to change. Oh, how beautiful! Do not wake me—I am so sleepy !’ Estaer C. QUINN. THE GOLDEN GATE PARK, Commissioners Will Construct the Music Concourse With- out Delay. Marble Columns and Caps for the Peristyle—Money for the Material. The Park Commissioners have consid- ered the project of constructing the con- | course for music according to the plans re- cently published in TEE Carr. The Com- | missioners have practically decided to go | ahead with the work as soon asthe new appropriation for the present fiscal year is available. | The levy of 10 cents on each §100 of the | valuation of real estate and personal prop- erty will produce a revenue of $300,000. The maximum levy for park purpose is 10 cents and the minimum 6. According to Anuditor Broderick’s estimate the Commis- sioners will be allowed to expend every dollar that the law allows. Irving M. Scott, one of the Commission- ers, sailed for Japan a few days ago, but | expects to return before the holidays. His | views are well known to Commissioners | Austin and Rosenfeld and in proceeding with the work contemplated they will have hissanction. | The initial work of the enterprise will consist mainly of excavation. It will be necessary to excavate to thedepth of ten feet to obtain shelter from the windsand supply space on either side for terrace seats. The music stand will be placed on- the concourse at the westerly side, so that. the prevailing breeze will waft the sounds to the audience, but the stand will not at first be designed as a permanent structure, for so much pertaining to accoustics is con- jecture at best. Real testsin the trahs- mission of sound will be made, and when the proper location for the music stand is determined plans will be presented for a durable and ornamental structure. The Commissioners consider that the peristyle should be of marble. Wooden columns and crowns will not survive the action of the elements in this region. The evening atmosphere charged with the moisture of fogs is followed the next fore- noon by the heat of atropic sun; hence all the conditions for hastening the decay of ‘wood exist. The argument is advanced by the Com- missioners, and by Joseph D. Redding, un- der whose ction the plans were pre- gnred, that permanent columns of marble shioned in pure lonic, Doric or Corin- thian style, or blended in these stylesof Grecian architecture, would lend a beauty to the structure and enhance the fame of the park. as well as the wealth of San Francisco. The opportunity of displaying days | ings of the almost frantic mother were | the varied specimens of California marble would invite quarry-owners to present highly finished and superb specimens of stone. 5 Rich men and women whose loyalty ta San Francisco might induce them to con- tribute of their means to enrich the park could have in this peristyle the oppor- tunity to give something to preserve through future centuries the name and character of the donor. As the work pro- gresses and each new section reveals a new glimpse of the completed structure the Commissioners will seek to awaken an ine dividual spirit of local enterprise. Assurance has been secured that the street railway companies whose lines ex- | tend to the park will contribute to the work of constructing the concourse and the peristyle. e TO0 PROTECT THE DEER. Boards of Supervisors May Pass Ordi- nances Extending the Closed Season. An interesting opinion to sportsmen was rendered by the Attorney-General and sent yesterday to M. S. Sayre, the District Attorney of Lake County. The Super. visors passed an ordinance prohibiting the killing of deer fn Lake County at any time prior to August 1, and Mr: Sayre wanted to know if it was annuled or in any way affected by the fish and ane law of the State as amended by the last Legislature, Mr. Fitzgerald says: I am of the (:Enion that as the Boards of Su. pervisors of the various counties have the power under section 11 of article XI of the cone stitution to enact any law in regardto the regulation of fish and game which are not in conflict with the general law, and that as the ordinance in question is not in conflict, but is in consonance with it, it was not affected b; the fish and game law of the State as amende in 1895. J. of. Morrison, the Fish Commissionexr at Sacramento, sent a similar inquiry to Mr. Fitzgerald, asking whether or not the Boards of Supervisors have power to exe tend the closed season for deer beyond the limits prescribed by the last Legislatu As in the foregoing opinion,Mr. Fitzgerals stated that the ordinances extending the limit of the closed season are not in cons flict with the general fish and game law, and the Supervisors have this power. ———————————— The French artificial pearl is. produced by boring a hole in the shell of the oystex and introducing a small bit of g]gu, which the animal covers with “nacre,” or mothex of pearl, to stop the irritation, Such pearls are flat on one side, and of less.value than | those produced naturally. Harmless Deception. Thousands of Goodyear Welt shoes are-sold annually as “hand-sewed shoes. We have no part in this deception. We prefer that shoes made with the Goodyeé.r system be sold as Goodyear Welts. Shoe manufacturers and shoe dealers are responsible for the deception. - It is harm- less, however; for the shoe buyer, as a rule, gets a bet- ter shoe than he would if it were really hand-sewed. GoopveA® ‘Swom Mackmiry Co, Bostex. (38)°