The San Francisco Call. Newspaper, April 24, 1898, Page 23

THE SAN FRANCISCO 'CALL, SUNDAY, APRIL 24, 1898. "NON-SUCCESS IN SINGING 1S LACK OF BRAINS” Madame Melba Tells Beginners How She Succeeded on the Stage. charming 1s with me. We 's private e r of @ to Mn gorgaou Melba’s geni that » plent membe! £X E exercise—exercise— no more singing cheeks are again. I t obey. My love to y« There w of a closing door, vept into the room “Nannle, d Tiss Ben- t, after “stand guard a try to is at the r ing me, > dares to about to st 1 could pu mad long W s none wed by people antly well to the mother ba was just in here,” she added, in explanatory tones. ‘“When they were in New York last year I told her moth- er that the girl had good timbre in her and the result is that they have 1 her day and night ever since. nonsense. Tow long did Melba 7 “1 studied under Marchesi just ten and then appeared in Brussels etti.’” That was ten years ago. But while I have had in all only ten instruction it h always been study and personal applica- th me. ) be able to sing divinely is not One must be able to act the . No one who has not been through nderstand the difficulties. you study, Mme. “And again, when you have gained succ it is not any easier. You are besieged on all sidi There are not utes enough in the day even to glance at every man, woman and child who begs only a moment’s interview, It I were to grant even half of them my time would be completely consumed by the “The train of my work makes it im- e that I shall take plenty of I have not had enough to-day, ee, am I not a nervous wreck?” edly not if one is to judge from outward appearances. For Mme. Melba, with the long folds of her dressing gown adding to her height and show- ing the outline of her beautiful figure, her head thrown back, looked any- t 2 but B wreck. ‘Ob, but I am,” she repeated. {'Will you tell me why, Mme. Melba, when there are so many with beauti- ful voices, so few for which they si Lack of brains,” answered Mme. Telba without a moment's hesitation. There are many with beautiful voices, but few with beautiful voices and n\m a) intelligence, or in other words, “br g ever reach the goal h? or those who have the voice and the brains there is no obstacle that cannot be surmounted. Those who, de- spite their voices, never gain the lau- rels for which they strive cannot hold one else but themselves responsi- either ill luck, fate nor the The fault lies in themselves. No: cess for them is lack of brains ing else.” 'SKETCHED PICTURES IN ONE MINUTE s stopped, red in the ¢ ush few blocks the all interest cent re. who with began 1 te ISt c ir 5 work. The artist whose work at delighted tho 1s The queer ame about in afternoon red Fowler, he Orpheum Company, to- the Orpheum rs, were seated ation drift during t of having inventions for advertising purp It was claimed that the pictures which he l'/'\ = /4 FORTUNE TELLER CHBATOWN draws so deftly durlng his act on the the result of study, and tion of set 1 which oon master. As Rudinoff ime pictures nightly there ‘Hv.m] to be good reason for the state- vaxed exciting, and one d to back his opinion Fred Fowler was the only porter of Rudinoff and offered to put dollar for dollar in a pot ainst all At last there was $50 on the Rudinoff was called street scenes off- et out. ¢ the p Tty was to select biect, F wler the secong noff the third, ¢ i fourth. Ralph Fried on, and John Morris keeper, At the corner of O'Farrell street and Grant avenue ‘‘Dave” Sabel halted the decide the bet, ked to sketcl ct was official time- party and poin "k Tilton the handsome et policeman, who was in the act of sting a_tailor- made girl in dodging the cable-cars Brush and paper were in Rudinoff started in for hi , one and a half minutes Those interested were willing to declare Fowler the winner right there, but for the fun of the thing the trip to Chinatown was continued. Rudinoff got some excel- sketches in this unique quarter, as will be seen in the accompanying sketches. diness, and OUTSIDE OF A CHINE S8 AESTAVRANT, Mss MNARY BeLL eWIN ey CLAWSON. S O PORTRAIT &Y R.L.PARTING TON il OUT of the ORPHAN ASYLUM and Probl.ms That the Children Who s AST week another little girl found life's path too rough and tried to open the gate out. She had been brought up, or, rather, had grown up, at an orphan asylum. Did it prepare her properly for the problem of life? At the asylum are about 200 children, boys and girls, from 1% to 14 years of age. Governed by a board of managers nominally, but really by a matron, it is supported by the State, by the parents of the children and by the institution. The place is a little world by itself. Even the language most of the little ones use among themselves s so full of localisms that a stranger might have difficulty in grasping the child’s idea. For instance, “teany” means small; “snordel” is to cry”; ‘“custard” is sick; “nip” is to steal; “nitten” is to lle, and they require a word of their own; “potty” is dirty, and so on through scores of more words not down in the dictionary. A new family entered, four German children from what must have been a very happy home. The smallest, a baby just beginning to walk, was under the entrance age, but the circumstances were too urgent for rules. “Oh, what teany; I wish she has spoos of her own. All the home’s are too ganty”-—which construed, meant that the baby was too small to wear the institution clothing. The four little strangers, of different ages, were placed in the several de- partments, and began life over agaln, each for himself. The children gathered around the eldest boy and proceeded to get ac- quainted. “Is your father dead?” o “Mine is._ He was shot. Policeman shot him. Mother dead?” “Yes"—and the tears started in the sensitive brown eyes. “Say, what you doing that for? It don’t do no good. How did she die? Bam’s had fits and rolled on the floor and kicked. Did yours do like that?" “No; she just died, and said she ;nlshed she could take the baby with her." ‘‘Her that's here? No fun to be died. “I don't know.” And so the young teasers continued till the novelty wore off, and the little fellow submitted and cried his heart- sickness out till he really fell ill, Lots better off. Father rich?” INTO the WORLD Are Raised in the Big Institutions Have to Contend With, His younger brother, however, took matters into his own hands and thrashed a boy or two, and so became a hero. After a time they nearly all become contented and march in the long line to chapel ‘when the bell calls; they kneel at another bell to say “Our Fa- ther,” at another bell rise. Sometimes it takes half a dozen at- tempts before the tall, stern woman who presides is satisfied with the man- ner of kneeling and rising. Woe be to the small bey or girl whose heavy shoes make noise enough to attract her sharp ear. They form in line and march in and out of the dining-room. $S¢ many together malk silence the one thing most carefully attended to. On Christ- mas and Thanksgiving they are al- lowed to talk during meals and they are brilliant occaslons in their way, but children are not satisfied with love by the wholesale. The dry cakes and cheap toys brought on Friends’ day really mean something to them. There is no other change in the weekly order of fare and if you ask a little tot what day of the week it is he will say: “We had puddin’; it must be Wednes- day.” Friends’' day {s the greatest day in the month for the children. On that occasion they wear their own clothes, if they have any, instead of the uni- form, with clean fronts, and in the af- ternoon receive their friends. That is, if they have any., Of many it is only too true what the more fortunate ones say: “What's the use of putting a clean apron on her? She has no friends.” Such a washing of faces and brush- ing and curling of hair, and every available ribbon which can be bor- rowed or hired for some of “what my friends bring me.” And after all the careful preparations, so many times no one comes and then follows the lit- tle tragedy of walting and watchipg the others. One charitable lady, who was inter- ested in one of the little girls, sent her word to be ready and she would have the child spend the holidays with her. She sent 10 cents with directions for the girl to hgve some powder and make her teeth nice and clean. Little Mag- gie almost wore out her tooth brush, went over all her little belongings over and over and planned with the others how she would not have to wear her apron. Then she tried every ribbon she could get on her short hair, promis- ing to write to all the gir She is an orphan and absolutely without a rela- tive in the world or a friend, except this one lady. School closed. Maggie could not sleep that night with anticipation, could not eat, and sat on the wood window seat all day watching the gate. The next day it began to occur to her may be she would not go, and she put away all her things and never spoke of her disappointment, for she not only was not sent for, but the charitable lady had forgotten all about Maggie. Many tableaux in real life form theme seives there, Dr. John Nightingale Jr. is the regu- lar physician, so it goes without say- ing that the sanitary matters are the best that can be made. The food is usually good, notwithstanding the mo- notony, and the children are comforta- bly and exceedingly well clother and housed. Those requiring special treat. ment are taken to specialists and you may have seen a long line of may be twenty-five boys in brown uniform going to Dr. Montgomery. They are the' “sorcheads.” Ringworm is the foundation of the trouble, which is not dangerous to life, but is very contag- fous, and being on the head is very, very unpleasant. A very determined effort was made to banish it, which, if persevered in intelligently would have been successful, but unfortunately the vigilance been relaxed. On Sundays in fresh, neat uniforms .the older children march to the Church of the Advent. The Rev. Mr. Emery is much interested in them, seeing them once a week at church, and they are much interested in the services and glve the closest attention and the most evout responses. Irreverence would “LOOK UPON TOESE PICTURES" HE portrait show at the Hopkins Institute of Art is a success. Ordinarily portraits are not very attractive to a disinterested party, and it always jars upon one’s ar- tistic sensibilities to see them hung in a drawing-room or even in the living-room of a house where they act with all the other pictures as a decorative motive. It would seem that the portraits of a household should belong exclusively to the family, and not be open to the scrutiny of all who are admitted. A portrait is such a personal affair and it satisfies in proportion as it repre- sents that particular phase of charac- ter by which the subject was known. The thoughtless remarks of a casual visitor—who may have known the sit- ter under different conditions—may un- settle an appreciative judgment of a canvas and disturb the prospects for its future enjoyment. But while a few portraits looking down from a wall may not create much interest, a collection of portraits in which there are examples of many known and some famous artists is quite another matter. To be able to study the products of local artists of different periods of time, to note wherein our present coterie have progressed be- yond the group who preceded them or have not as yet attained to the excel- lencies of the famous, is a rare oppor- tunity of which all who have any in- terest in art should avail themselves. There are artists and there are paint- ers. Sometimes a great artist may not be clever as a painter and a very clever painter may not be much of an artist. It may be said of the Fritz M55 ETHEL CROCKER BY BOLDINI August Kaulbach, who Is the author of the beautiful portrait of Miss Neu- stadter, that he is much more of a painter than his celebrated uncle, Wil- helm Von Kaulbach, but not so great an artist. In the Denner, loaned by Mrs. de Young, we find an illustration of un- usual painting. This artist is noted for his exceedingly patient, toilsome and accurate finish. He copies nature with such scerupulous fidelity that every undulation, every tint and even the slightest down of the skin will bear in- spection through a microscope. He makes a hair seem round dnd gives perspective of the slightest wrinkle. While this kind of painting may not be high urt there is a spirit of conscien- tious effort apparent that might well be emulated by some of the artists of this generation, and while the excellence of a portrait is not to be estima.ed by the realistic paint‘ng of a sa‘in gown, of the illusion that reveals an arm, or of the point lace collar, all of which so frequently holds the public eye, still the subordinate parts of a canvas should receive some consideration. There is a wide difference between a clever suggestion and a careless, im- perfect representation. There are entirely too many heads and hands emerging from hollow coats, and the imagination of the spectator is too frequently calle’ upon to sup- ply deficiencies in the different appoint- ments of the picture. The Boldini portrait of Miss Ethel Crocker is receiving much attention, especially from professionals. Inch by inch the canvas is being dissected and the general verdict is ‘“clever, very clever.” The Romney canvas, which is doubt- less a good example of this celebrated painter's work, is well worth serious study. This artist was the successful rival in portraiture of Sir Joshua Rey- nolds. Two heads by Benjamin West and a portrait of himself by Greuze have at- tracted considerable attention, while a very pleasing study of a young woman by Henry Inman has been generally admired. Two examples of the Rubens school commend themselves to the student on NEU & P 5 .4 " Po account of their rich coloring, while not far from them are two very funny portraits of women, dated 1600, which testify very forcibly to the lack of dress reform in those days. Besides these mentioned there are Hogarth, Sully bert Stuart, Parbus, Leutze and many others marked unk 3 of which are well worth e: Portraits to the student are interest- ing from several points of view. Their first mission is, of course, to truthfully represent the sitter. . To get a. like- ness as regards physical appearanee as well as character is no easy matter. Then painters are very apt to picture their own characteristics in the can- vases, and logically so, for no on express more than he sees, and told we generally see our own quaz reflected in others. Some artists live beautiful lives, have a state of being that enables them to give a spiritual in- terpretation to everything they study. On their canvases we find only the higher attributes of human nature rep- resented; while others who do not live on such a high plane of' thought and action generally portray only the phy- sical characteristics of their patrons. The gu.. between spiritual loveliness and sensuous beauty is deep and wide, and can only be bridged by that insight which comes from high thinking and right living. The style of an artist is as individual as his handwriting. Some painters are versatile, but in all the varieties of théir work the intelligent eye detects the same characteristis. No one paints like Mr. Yates, and while there are such marked degrees of merit in his different portraits, the rich color, the vigorcus handling indicate the artist. While much of his work is masterful, his portraits of Misses Sulli- van and Kittle are also beautiful. And Mr. Vos’ conception and treat- ment are entirely his own. His four canvases, which have had a liberal share of criticism, are, on account of their picturesque treatment and posi- tive color, very popular. One can always recognize Mr. Strong’s conscientious and able work. His seven canvases show not only some MRS MARY CBURle RICHARDSON. Mi5S RoSALIE: STADTER BY KAULBACH RTRPAIT very excellent work, but some good likene S. Mr. Partington exhibits three num- r. Keith evident in I been greatl Mrs. Chitte 3 stocd the. trying ord: pared with thei her excellent technique she bids tel artists. “old ma com- nals. yugh sses and her able Ir to lead the pas- gest but one regt ) we mnot see more from her brush? Her hand- ling of pigments is ideal and her color " work ¢ t help most sat but be an in Miss Bra quite She ess. Miss Heyneman shows a very good Helen commended clever technique. ceived some very favorable commen- dation. : Mr. Greenbaum shows three interest- ing studies and Mr. Cadenasso proves by the excellence of his single canvas Sleeth exhibits a most charming in gray and Mrs. Wormser, in shows us a most lady her portrait of hersel beautiful and well-painted picture. Mr. Rascher exhibits two ably handled heads, while Mr. Fonda is rep- resented by four interesting canvases. S. W. Shaw prove a canvas dated 1851 that he is an art veteran. His lat- est canvas, that of Judge John Currey, is very creditable. Mr. and Mrs. McCloskey show two very striking illustrations of realism that have been quite generaily appre- ciated, while near them is a large and pleasing portrait of Mrs. William G. Irwin of Honolulu, by Virgil Tojetti, but probably the most popular work in the entire hibition is the pastel sym- phony in pink, the portrait of the beau- tiful Miss Gwin, by Clawson. not wait till the next world for pun- ishment and he who will not sing is made to sing. Going to church is the only regular opportunity to see the outside world except for a dozen or so of the older ones, who-zre in public schools, and for those under eight or ten particularly Yyears come and go, but the gate in the gray wall never opens for them. Each department has its own portion of play ground, the big boys gardens and bunks, but the greater portion of the enclosure is given up to the beautifully kept garden. which makes such an at- tractive entrance to the visitor. One girl of 13 years entered the in- stitution almost a baby. She was good with children and is now kept as the kindergarten assistant. As she was not a public school girl,she was to have a momentous treat. She was to be al- lowed by very special permission to ac- company one of the attendants to Oak- land. Her delight and anticipation were unbounded. She counted the hours and wished Saturday would ever come. Her ignorance of ordinary things in the big world would be something astonishing to a traveler. “How do you expect the ferry can carry you and Miss Brown over at the same time?” said one of the girls, quizzically. “Well, she will have to go over first and wait on the other side for me, I suppose we both at qne time would sink the boat.” g Another girl sald to her: “Elsie, you will have to fill your pocket with stones to throw at the Chinamen.” “But I might hurt them.” “Well, all the managers do that, so you will have to.” Another urchin-who had had experl- ence supgested: “When you see a policeman you al- ways have to ‘duck out’ or he'll know the uniform and take you up and put you in the patrol wagon and bring you home.” She went at last and was much dis- appointed when she came home be- cause “It was just like going to church. Nothing awfully exciting happened.” In a few months more Elsie, an or- phan, with her own way to make in the world, will begin the struggle. To such a child the problem, “When I get out of here,” is the summum bonum of all things. Can you fancy her position? She has never been inside an ordinary home, never sat at a family table, never seen a private room, never been in a common kitchen or seen an ordi- nary cooking stove. She has never owned a bureau drawer, or a closet, or a bed; never had a dress, or hat, or garment of her own, but has always worn a uniform, loaned and cared for and mended by the institution. She would no more be able to take a car and gc downtown and back in safety than a little wild Indian just off the plains. In a few months she will begin her own struggle for an existence among strangers. HELEN GREY. THE DIALOGUE OF THE SPIRITS. (Copyright, 1898, by 8. 8. McClure Co.) AYS the Spirit of To-day to the Spirit of All Time, “Have you seen my big mach My fire steeds, thunder-shuttlecock: ines? s, that dart from chime to chime, Hear the lyrics of their driving rods, the modern chant sublime—" Says the Spirit of To-day to the Spirit of All Time: “Have you seen my big machines o “Hear the thunder of my mills,” says the Spirit of To-day, “‘He@r my harnessed rivers pant. Men are jockeys with the lightnings, and they drive them where they mayy ® They are bxidlers of the cataracts that dare not say them nay, And the rivers are their drudges,” sa: “‘Hear my harnessed rivers pant.” Says the Spirit of All Time to the Sp! “Haste and let your work go on. ¥s the Spirit of To-day, irit of To-day: Tap the fires of the under world to bake your bread, T say, Belt the tides to sew your garments, hitch the suns to draw your sleigh.” Says the Spirit of All Time to the Spirit of To-day, “Haste and let your work go on. “But,” says the Spirit of All Time to the Spirit of To-day, ‘‘Tell us, how about your men? Shall they, like live automatons, still drudge their lives away, ‘When the rivers, tides and lightnings join to help them on their way?" Says the Spirit of All Time to the Spirit of To-day, 7 “Tell us, how about your mei? “Yes, harness every river above the cataract’'s brink, And then unharness man. To earth's reservoirs of fire let your giant shaftings sink, And scourge your drudging thunderbol Its—but give man time to think; Throw your bridles on the rivers, curb them at the cataract's brink— And then unharness man.” Says the Spirit of All Time: Make no machine of man. Your harnessed rivers panting are as “In this climax of the years Iyrics in my ears, And your jockeyed lightning’s clatterings are as music of the spheres, But 'tis well that you remember, in this climax of the years: Make no machine of man."” B8AM WALTER FOSS