i O
16 THE OMAHA DAILY BEG : SUNDAY , SEPTEMBER 23 , 1804 ,
THI& PARLOR SUIT 9(9.50. ( WORTH $53.
It Is Identical with picture at the toft.
Upholstered In rich Taposlry , fringed si ,
around , oven the arms boEng draped-\vlth
elegant knotted fringe , good workmanship
throughout. Bottoms are covered with
hotsvy cambric , making It duet proof. This ,
however , Is only one of the dozens of bar
gains shown In our Upholstery Department.
r r f f s
95c , worth $2.50. $ $14.50 $ 5 worth 24c , worth 50c.
Three pieces , consisting of bed , dresser
Solid oak , has beat woven wire spring , In this
All the shown
This price is tor a. beautiful Parlor Vane with steel latest patterns are and commode , finished In cither antique , or
tempered to
spring supports prevent lot , small , medium nnd largo figures , light
, decorated In number of different 10th Fox
Lamp
a vent from - . So century patent castors. al ) the
spring saggingSo simple to
operate
dark and red ground * . This same carpet will
. Has burner ' finish and cabinet
ntylea. large , b'squefinish ate that a child can open nnd close It. . work being paneled nnd grooved.
Is an ornament for any parlor. cost you elsewhere GOc per yard. Largo b-3\elcd plate minor , 22\20 Inches.
Extension Tallies
$1.00 $ , worth $2.00. $ $5.65 $ , worth $12.50. $ wortli 90c. 24c , worth 75c.
Made ot fine quality of oak , finished an We Just received 200 rolls of choice brussels -
These large sized comforts , 60x72 Inch , Made of good quality cloth , 7 feet lonjr ,
are
tique. Has For patent castors. This price sels carpet , from New York , which were
fancy stitched , In a variety of patterns. Jutt Includes a full crate of leaves. bought nt BOc on the dollar. Many of the mounted on best spring rollers. In three
received 60 bales of them , which will last . different shidcs , ilrnb , clhc ntul maroon.
newest fall patterns are Inclosed In this Int.
about one week at this price. Thli pilce Includes a neat ahado poll end
m-lls to put them \ip.
$2.90 $ , worth $6.50. $ $11.85 $ , worth $20,00. $ 98c , worth $2.50. $ 98c iteta worth $2.50. $
Has large beveled mirror , commodious linen Our own Importation from Nottingham , . .
,
Made ot heavy quality chenille , In all the en drawers , with two largo closets below , England. The pattern IE an Imitation ofi
fashionable shades , frlngeJ and dadoed top Fox patent castors and last but not least , rich brussels effect , and Is nell worth throe Has cane seat , high back , which Is now
and pay bottom. JG.60 for These elsewhere. siine porlleres you would Boaksase $3,93 , wrtli $8.50. It Is solid oak. times the price we ask for them. No more so fashionable , finished antique and well
than one pair to a customer. worth $2.50.
Solid oak , finished antique , has best lig
num vltae castors and as well put together pr- EJ BflY2SEl * , ( fiT
P3 ,1 M
as any of yo.ir best bookcas.es. . No more than Base Burners $ . , .75wrfli$22.50 $ 10 a u H h ? ll B (
worth one to a customer. $11.45 $ worth $20.00. $ 13ach and one guaranteed to operate '
$1.45 $ $3.50. $ . , . worth $12.50. $ etcry 98c worth $2.50. $
. , . . $6.98 $ . . perfectly. Handsonuly nlckled , also very i _ _ _ , _ _ _ , _ . _ _ .
This for a five hole range , made by 'J , pretty nlckle ornaments on top. You cannot ! J , T
We aie having another special sale on plc- Dinner Sets S7.50.wffl $13,50 one ot the best foundries In the country , This Is a large size bed lounge , nndwhen duplicate It anywhere under $22.50. Ilemcm- Solid oak finished antique , has large shelf
tuies , every picture In our establishment . . lias large overt , with tin lined oven door , open Is a complete bed , being upholstered her we carry the largest stock of heating below , which may be used us a place for
being reduced to half price and less. Special Made by one ol the best potteries In England patent anti-clinker grate , and Is guaran with the best quality of tempered springs. nnd cooking stoves In the city and at prices hooks. As we have only 200 of these tables
attention Is called to one lot that have been land , and warranted not to crackle or craze. teed to operate as perfectly as any range With a woven wire top , which prevents a from 25 to 40 per cent below all com- mall orders that bear the post mark later
reduced from $3.KO to SI.-15. The above price Is for 100 pltces. made. hard rtdgo In the center. petltors. I than Wednesday cannot be filled.
EASY TSRMS.
{ 10.00 worth ot goods , J10.00 worth of gootls ,
$1.00 week or $4.00 per month. fl.OO week , Jl.OO per month.
{ 25.00 worth of goods { 25 00 worth of gootls.
$1.50 week or $6.00 per month. $1 BO week , or $0 09 per month
{ 50,00 worth of goods { 50.00 worth of goods
{ 2,00 week or JS.OO per month. { 2.00 week , or $3.00 per month
{ 75.00 worth ot goods { 75,00 north of goods
$2.50 week or $10.00 per month. $2 50 week or $10.00 per month
(100 worth of goods { 100 worth of goods ,
$3.00 week or $12.00 per month. $3.00 week nr312.00 per month
$200 worth of gcods jc-uxii.raLE.j3j.aj i jT .wjir j& KJ MAMMOTH INSTALLMENT HOUSE , { 200 worth ot goods.
$4.00 week or $1500 per month. Send 10 ceats to cover postage 01 big ' 94 catalog. Write forUMy .forriiiie CilalJjm , raiflel Ire1 Opsa Monday a-jd Saturday Evenings , $4.00 week or $16.00 per month
niMMno i tin nr'Tinptrnn / > T
CiiMUS AND PERSEVERANCE
3ho Elements Conspicuous an the Oniears cf <
( UOCUSful AltB'.S
THE MASTERS OF ANIMAL PAINTING
Tinting the Studios of Ucromo , KOSH Iton-
lieur nnd 1'aul ItUlorc How the Artist *
Study and Use AnlmuU In
Their Picture ! .
( Copyrighted 1834. )
PARIS , Sept. 8. liehlnd a correct and ex
pressionless house front In that noisy and
ordlnaiy part of Paris called Cllrchy lives
( bo painter Gerotno. If the exterkr ct the
famous artist's homo la noncommittal , no
Booner over the doorslll thin a decided and
varied character Is evident. In front of
ho entrance In thd court a couple of
Sculptors In blue blouses carry jut the mas
ter's orders , though through the glass doors
leading into the ground floor rooms tantnllz-
Ing glances ot white statues , carved woods
and heavy armor arc to be caught. All the
way up the , three ( lights of stairs , which
lead to the studio at the top of the house ,
pro hung on walls or fitted into corners
strange and beautiful art objects , plaques
ot Iridescent Htspano-Moorlsh ware , Indian
mosaics , hideous , but living Chinese Masques , "
great bronze urns with dragcons for orna-
mcnta , Rhodlan fayenco , a pair of heavy
boots- , looking as If they had been pulled
from the legs ot a military mandarin. Almost
without exception the articles are from the
Orient.
TUB STUDIO OP ( JEROME.
On the upper landing double doors lead
Into the atelier. The first glance at this
Btudto of Geromo's for one who has eeen
much of his work Is bewildering because of
its points of familiarity. On every side are
Cbjccts which have figured as accessories In
Us pictures ; here It Is a rug , there a sway
ing Incense burner among the score or more
in every etyle and size which hang from the
celling , here It la a corner of the room It-
Bell , familiar as a background. On every
hand are sketches and half finished studies
ot well known pieces. At one side. Is a
reduction In marble of that exquisite Tanagra
ot the Luxembourg and , graceful Idea , be-
Bldo it a statue of the little dancing girl
which Tanagra holds In her hand. lloth
| ) lecet arc colored In dull shades of silver ,
blue und copper.
From behind an easel it one side rises a
cur ) ot blue smoke. Defore the visitor
reaches the spot the head of the maltre
looks out to see who Is troubling his \\orl : .
Blight , wiry , medium height , a thin , grave ,
regular face , white , Its pallor Intensified by
Cray hair and black moustache , somber
tyee , which regard one directly and re
flectively such is ( Jerome. In manner he
la perfectly natural and kindly.
The pallet and pipe are laid islde , the
model sent off , and ho plunges at once into
the subject which he knows interests mo
his animal models.
EXPLAINS HIS USB OF ANIMALS.
"Animals for me , " says Gerome , "are
elmply accessories to my Idea. They ire
never used to express It. They nil in , as
does the bric-a-brac , the furniture or any
accessory. It I paint a Napoleon I put
In a lion because it helps the Idea , not for
the itke of painting a lion. The animals
I hive painted chiefly ba\e been horses ,
dogs , camels and lions , and that Is BO be
cause they are the animals with which I
h&va been most aieoclited and to which I
litvo been most attached. It has been my
Lablt alwaya to study everything which
plttsed my ere at the moment when I had
It before m& , to take my notes In pisilng ,
and ii I have had certain animal * around
no a great deal. It U naturilly those with
jvhlch I have worked most.
"Thui I hira worked a great deal on
fcorte * , b c u 9 I ride hgr et ck and o keep
the animals In my stables. When I want a
horse as a mod : ! I use my own , and naturally
I study them constantly from habit. "
"I have lived much In the Orient and
traveled on camel-back. It was thus that I
mndo my studies of camels. It was my habit
as soon as dismounting to set up my easel In
camp nnd go towork. . Thus I caught the
camel In all sorts of positions. "While travelIng -
Ing with a party there ws even went so far
as to adopt a young camel which had been
abandoned by Its mother. It was about the
size of a large goat , nnd under our petting It
became so familiar that It would coma into
the tents and even roll on the beds. Of courss
It was a capital chance for sketches.
"Dogs I have worked with In the same
way. I keep them about mo , being very fond ,
of them , and have studied them constantly.
When In the Orient I worked on the dog ,
also. There Is an example , " and he points tea
a sketch on the wall of an Orl.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 quantities ot
such bits In the Orient , and they work In
some time. "
"And your lions ? "
"Oh , I studied them In my youth for I was
passionately fond of them. My models were
always the cats of the Jardln des Plantes ,
where for a long time I spent my mornings.
Whenever I have put a lion Into a picture. 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 OLfMPSE AT GEHOMD'S STUDIOS.
We leave the big studio nnd go Into a
smaller one at the side , devotd to modeling.
It Is filled wth | 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 cablnit. Oerome opens the doors und
there are rows of drawers , each marked.
Cheval , Chlen , Lion , Chats , Chameaux. Arch
itecture are a fe.w of the labels. He opens
the drawer marked Chameaux , takes out a
portfolio , and there In drdcr Is arranged leaf
after leaf of studios made In the east ; camels
kneeling , starMing , walking , sleeping , har-
ncsssd , tied , free ; every Joint , muscle , bone ,
from the nostril to the tall. All ol them are
full of life and truth , and many of them are
as finished as are bis pictures. .
He opens another drawer and takes out
the lions , studies of the same care. On
many of them notes have been made. Hero
a paw In an equivocal position Is marked
drolte. hero gauche ; hero the measure-
menta have ben attached , so many cen
timetres from eye to eye , so many from
nostril to nostril , BO many for a claw. We
pass the lions to horses , from horses to dogs.
Everywhere there Is the samequntlty. . the
same quality , the same care In detail.
Amazed and awed by the enormous amount
of worU ot which this great collection cave
evidence , I exclaimed :
"But how have you done It ? There is
the work of a lifetime. "
FAITHFUL WORK OF FORTY YEARS.
He nodded. 'Tor forty years I have
worked desperately , I cannot leave it , If
I travel I make notes from the car window ,
and I am no sooner oft the train than I
set up my easel. In the Orient I rode on
my camel , sketch book In hand , and dis
mounting I painted while the men arranged
the camp. I never leave my work. And I
work on all sort of things , as you eee , "
pointing to the various. labels on the cabi
net drawers. "I cannot endure repetition ;
I must have something new. That la why
I have taken up sculpture. My restlessness
Is unending , and In a new medium I nnd
greater peace. And It Is only by working
constantly that one can succeed , above all
with animals. One must take them as be
can get them , for remember that animals
will not sit. They must be studied and
afterwards composed , "
"Hut even If studied faithfully , aa your
ketches ptovo you have done , I do not
understand how you can get such a position
aa that of the dark cock In the Cock Fight
in the Luxembourg , "
"Oh , that , " the artist's grave face began
to break. The memory was evidently gay ,
for the smile- turned Into a. laugh. "Ob.
tint I got at the Jardln dea Plantes. I
turned a 'golden pheasant cock ol the
gamiest tort Into a flock ol commoner breed ,
and In an Instant he had them all fjphtlng.
I could have the most exciting positions
conceivable at a moment's notice whenever
Iv nt 4 toworte on mr picture. " Ana one
who hU jsTit tetn tb picture , the m 4-
dened black cock springing high Into the air
ever Its Opponent , and who , nt the same
time , has ever interested himself in the
interior history of a chicken yard where
there were rival rulers , one cf them
"game , " will know that nothing but study
from nature could have produced the re
sult In this Interesting picture.
And all of this v.ork , this conscientious
search for truth. Is put on as an accessory.
And no matter what the detail , swinging In
cense burner , Turkish rug , a Laufo Quatorze
Interior , a detail cf architecture , the sune
study IB g ven to It by Gerome as he gives
to his animals.
ROSA DONHEUR'S USE OF ANIMALS.
Dut if the animal is for htm only an ac
cessory , not so for the greatest of his con
temporaries , Rosa Donheur. Tor her the ani
mal is the raleon d'etre of ths picture. She
doss 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 , Itosa Don-
lieu r Is simply and purely an artist , without
other end In view than the aesthetic. It Is
one of the greatest elements of hsr success.
Unquestionably her love of animals has de
cided the turn her work has taken nnd made
her exclusively an animal palntir. The
stories of her models arc endless. When she
first began work. It was to a farm near Paris
that she went to study , and the good people
of the place , flattered that any one should
care to regard their shsep and cows and
horses so closely , gave her carte blanche on
the premises. '
When her first successes had encouraged
her to continue her work on animals , she be
gan to surround herself with them. The
Uonheur family lived at that tmc | In ( a lit
tle apartment on the sixth floor in the rue
Rumfort. Her brothcr-ln-lawj M. Rene Pey- '
rol , who lives In Paris , ears , of this small
menagerie : "Before the wln'dpw were birds ,
whilst the corners of the atelier were ten
anted by hens , ducks and pigeons' who en
livened the scene with Ihtlr clucking , quack.
Ing and cooing. In a neighboring apartment
were two sheep and a goat , doubtless sur
prised at having left sweet pastures to End
thtmselvesjsn a sixth floor flat. Every day
her brother took the sheep and goat out upon
the Monceau plain , whose bolltude had hot
at that lime been disturbed by the enter
prising builder. " v
But this little private mcnnge.rle was. not
sufficient for her studies , and Rosa Donheur
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 ot her greatest pictures , Labourage
Nlvernals and the Horse Fair , As tame
came to 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 ot vine
yards , for the entire hillside Is laid out In
terraces covered with grapes , and protected
by high walls. The view is extensive and
beautiful from the chateau , but perhaps the
chief charm of the place Is Its. proximity to
the forest of Fontalnebleau , 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 Inmates of the chateau.
And it is not to be wondered at. Every
time the gate opens to let in or out a per
son , a new animal la teen or supposed to be
Been , When Rosa Bonheur goes walking ,
followed by a troop of dogs ot alt breeds arjd
attended by a. pet monkey , usually leatid on
her shoulder , some curious report IB B rte .
Her long drives In the forest , tt } . ? a'nlrpaTa
which escape now and then , the atrlvile of
mustangs from America Buffalo DJH sent
Rosa Bonheur som two years ago of boirs ,
clka , gazelles , even of 110ns , excite the
Imagination and loosen the tongues of peas
ants and villagers , and one to believe their
tales would suppose that the zoos ot the
earth were mere barnyards beside the park ol
the Bonheur chateati.
HOW ROSA BONHEUR PAINTS AN
ANIMAL.
U IB on animals { hut obtained that Rosa
Honheur , has worked. For crvery animal
that the hoi painted scores of sketches have
been maQe , and the Voluminous p&rttolloi
at 3r. ore crammed itltb ncilt cuypo. ind
oil studies In all stages of development.
One traces here admirably the preparatory
work for such n 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 ft , but
the firut 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
nnd catching htm bit by bit. This Is what
Itcsa Bonheur has spent her life In doing ,
SHE LOVES HER SUBJECTS.
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 with the strength , the calm , the
fictceness 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 flerco and unconquerable animal ,
was taken to By some years ago. Almost
Immediately Nero recognized his owner as
a friend and he would actually seek her
caresses , reaching his great paw through
the bars of the cage to ba 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 Jardln de&
Plpntcs and called to him suddenly from the
crowd In front of the cage , "Ne.ro. " The
animal sprung up Instantly at the sound ot
her voice and sought to find the voice of his
mistress. This power over wild animals-
lias been constantly exercised by Itoaa
Bonheur. The explanation of It that the
great artist gives Is simply that she- loves
them.
HOW BRITON. RIVIERE USES THE
ANIMAL.
Oenime uses tha animal as an accessory ,
Rosa Bonheur as 'the ' end and aim ot her
picture. Different from both In the use lie
makes of the animal is the English artist ,
Briton Riviere.
The pictures of Mr. Riviere are well known
In America , from the fact that he has been
BO extensively and -admirably engra ved.
"Persepolls , " the "Double Entendre , " "Tlie
Last Sleep , " "Daniel's Answer to the King , "
"An Anxious Moment" ore perfectly familiar
to every lover of engravings. In all of
them Mr. Riviere , alms to 'do something
more thart to paint-an animal. Ho has a
story to tell and Dies the animal as the
chief means of expressing hla tdws.
The UBO ho makes of the model and the
relation ot his sketch or'study to the actual
picture Mr. 111 vie re had the courtesy to
explain to mo fomo months ago In his
cUrmlng English Tidme , Flaxley , In Finchley
Road , London. The animals which he
prefers and with which ho Is moit at homo
are the dog , the -lion and the plr. Ho has
also painted many bird ? , especially eagles
and geese.
DOCJS ARE THE EASIEST MODEL.
"Dogs , of which 1 have painted perhaps
more than anything else , " says Mr. Ri
viere , "are tha lelst difficult ct my models.
I gpt the animals'usually from dog dealers ,
but I rarely worlc Irom 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 pole , for it mutt be a person
who loves and understands animals U he Is
it ) < Jp anything with them for my purpose ,
to whip them , to try to cow therji. Is quite
useless. It must be by a. real influence over
the animal that he will do what you wish.
All animals are difficult models , but dogs ,
owing to their intelligence and obedience , sit
better than other animals , especially If ac-
( onibanled by one who knows how to manage
then ) . v
" ( n painting animals my practice Is not ,
however , to copy the model. I have , my Idea
of a dog , and I uta perhaps a half dozen dif
ferent models in workingout utmt I want.
The doga of. my pictures tore ull come from
hero firtt , " laughed Mr. Riviere , tapping his
fen dead , " .not by copying any one specimen.
Nor can they be said to come limply from the
study of the model used for a single picture ,
Each animal la an accumulated experience ,
the result ot pint sketches , past studies , past
notes and past observations. I am always
taking notes , mentally or on paper , not on
random tubjecta , but which bear upon the
Ideas vbich I bavo IB mind , tea Utlo nctei
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 , " said Mr , Riviere , "there's a subject
where the Impressions of my boyhood coino
In. That Is a thing I have seen , and I am
ab'e to rcproduc my Impressions by the help
of models In quiescence , though I could not
do It were It not for my 'accumulated experi
ence' In studying pigs. Pigs are Viet trouble
some models ; In fact , they sit \ery still. I
havs even kept them , though I do not often
keep animals for my work. I had one once
for some time , which became very tame- and
quite accustomed to the studio , and which
would Bit to me almost without difficulty.
RIVIERE'S METHOD OF STUDYING LIONS
"Ai for lions , of which I have done many ,
they nro most trying. Nothing can bs done
with them , and on ; must take them as he
can get them , I do my studies ot living lions
at the Zoological gardens. Whenever 1 have
any ierlous work to do I go there early In
the morning and leave at 9 , when the people
b'gln to come. But what I do Is not to cpy
the lion , it Is to make studies of parts , catch
movements and make notes. " _
"And 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 death among the
Hong , 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 I have frequently had casts
made of different points. But a dead lion
will not do as a subject to paint. It cannot
be put Into lifelike positions ; Its muscles have
sunk and stiffened. It Is dpad. and what I
want la life. I never but once painted a dead
lion. Th ? animal was sent mo 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 vsas posslb'e 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
coming academy was exposed , is shown more
clearly than ever the way In which the lion
serves as his model. Hero Is an anatomical
lion , on which he has bean 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
ence. "
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
Blncws , but to make a living body stripped
ot Its skin and , showing Just how every
line pulls or relaxes In a given movement la
another matter. The diniculty Is well shown
In the studio , where there are numerous
casts ot 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 not done yet , but when it Is done I
hope It will be useful to painters. "
And there arc people who talk about
"dashing off" work.
A bronze which Mr. Rlvlcro cent to the
acudemy this year Is a capital example ol
his method of lion studying. The beast has
thrown Its front paws high against a rock ,
Its claws are thrust out In a spasm of pain
and Its head Is thrown back In agony. The
back limbs drag heavily , half-paralyzed by an
arrow which 0 hunter on the top of the
rock at which the wounded beast Is tearing
has shot ln < 9 its e nka la such a way as to
pierce the nerve cfnter.
DIFFICULTY OF GETflNQ ANIMALS TO
rose.
" " Mr. "It would
"Naturally , says . Rlvlerp.
be Impossible to get a lion In that position ;
were it a man U would be different. You
can explain jour Ideas to a man strip him ,
and , be being Intelligent and obedient , helps
you to get the pose you deilre , and you
paint him as heIs. . A lion lies down when
you want him erect and moves al-out when
you want him qulej. There Is nothing in
do with him but study him as tip Is , catch
today a bit , tomorrow another , accumulate
and correct until you have what you seek.
"Sometime * ID working with dogi , ev n
When 1 bars ror moi l In my etudlo , I m
obliged to wait a long time before I can
catch the pose Iwant. . It may be a very
little thing , but I have my Idea of It. I
Ki'ow what I want , but I must have a touch
of nature to enable mo to carry It out.
Often for n long time my moiUl cannot bo
mrdo to do what I want. Such waiting la
sorr.rtlmes almost agonizing. "
Mr. Riviere's i elation to his model Is , In
fuel , an Interesting psychological study , Ha
never follow a It exactly , but he cannot
dispense with It. In the academy pictures
of this year there Is one called "Eyes to
the Blind. " A blind beggar sits by the uay ,
and on his knees an alert wide-awake terrier
watches. The nnlmal expresses admirably
the vivid contrast sought. "I had a model
for ( hat dog , " says Mr. Riviere , "but you
would not know him If he were here. I
did not copy htm , I painted the dog I had
In mind , but I could not have dona the dog
of my fancy If I had not had u live ona
beloro me. It seems to me sometimes that
I scarcely look at my model , yet I must
have him there. I suppose I look at him
otttner than I am aware. However , 1
ntver copy him. "
RIVIERE'S USE OF BIRDS.
What he does for dgs and liens he does
for birds. Among the academy pictures Is
a Ganymede. The eagle Is superb In Its
fiercestrength. . Its easy flight. "Eagles I
study at the 'Zoo. ' as I do lions , " sali Mr.
Riviere , "but much more la to ba gtten
from a dead eagle than from -a dead lion.
You have the feathers Intact. Then the
wings do not beccmc useless from death ,
but can bo spread and wired Into lifelike
posUlons If you have studied from life
tufilclently to know what these positions'
arc. I can imrglne Unit a painter who
should attempt to paint an eagle simply from
n sillily cf dead models would arrive at
curious results. . To study birds adequately
one should go far beyond the zoological gar
dens. "
"And ycur geese ? " I asked , remembsrlng
the delightfully humorous "An Anxious Mo
ment , " and the ducks In "Last Spoonful. "
"My geese , " and the remarkable delicate ,
appreciative ! smile of the artist came quickly
nnd went. "I have had them running
about and caught their movements as they
went. They become very tame , and one
can * tudy them at ease. Then they are
\cry 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 , I
paint them as I have pictured them to my-
Bef ) , nnd my model is the correction of my
Ideal , not Its source. "
And so It ia'with all Mr. Riviere's ani
mal subjects. They are used to study , not
to follow. Take the puppy study given
hero. "Those puppies I had tumbling
about my atudlo , and I made notes of them.
as you see. " And these notes , with others ,
became the "accumulated experience" which
has resulted In some aa Irresistible and rol
licking little piece 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 tha thing which first
strikes one and which grows more and
more Impressive as one talks with them
and looks through their sketch books , la
the endless patience and' painstaking which
they have been obliged to use In handling
animals. To catch a particular movement
they must watch and wait for hours. To
arrive at anything like a respectable knowledge -
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 worli have made them familiar with
three or four different animals then they
paint , but only then In having before them
the mcdel which elves the bint of nature ,
which la essential , whatever the power and
experience of the artist.
Verily , when critics and admirers say of
the pictures of the great animal painters
that they are "products of genius , " they
scarcely realize how large a part ot tint
genlua Is downright hard work.
IDA M. TARBELL.
Pituiierlim ID Cnclnud.
Pauperism baa greatly declined In Eng
land itnce 1871. The proportion ot child
paupers has changed fi im 5 to 2.3 per cent ,
that ot the able-bodied from l.-l to 5 per
cent , and that of the old paupers ( aboie
CO ) from 21. & to 13.7 prr cent of the popul-
tlon of the several ages Since 1SS8 the
paupera who ar not able-bodied have de
creased not only relatively , but absolutely ,
by SO.OOO.
m i
Oh ! never from my soul , Luc lie ,
Shall cruel Time's grim , grasping hand
The memory of our meeting atoal ;
Nor shall the unrelenting band
Of petty cares that crnwil the llRht
E'er sweep thy Image from my sight.
The world , to me PO dnik before ,
Is now alight with sudden Joy ;
And thy fnlr form the radiance Lore ,
Oleunilng , all-pun.1 , iilthnut alloy ;
The light uf IOVQ hntli found the youth ,
V/ho lately tolled nlone for Tiulh.
Thine Is no passive , doll-like face ,
Expression breathes In every line , '
And sweet emotions faintly trace
A meaninglialf. . or quite divine ;
And frnirlle fancies linger there.
Then fade away like things of nlr.
As In the Moslem's paradise
The Ilourl's eye. ? enchant the Blert , <
To me the gleams of "thy ilark eyes
Impiiit a toft ethereal rest.
Ah ! shadows of the Orient ilyes
Lie In the depths of thy dnrlt eyes !
But why should I thy praises sins' ,
And hope for theo , nnd dream ol bliss ?
Little to tliee rny liaml could bring
Save n , rudeBOIIP , or lay like- this ;
Too well , the lonely poet knows ,
UOPS beauty love life's noldeu shows.
Farewell , farewell ! the dream Is o'er !
All , those bright hours too quickly sped !
We part , l.uclle , to meet no morel .
Alan ! for me the light Is lied.
Yet , one last Joy from thee I'll steal ,
This kiss , and then farewell , Luclle !
, -J. T. ir.
Kf'UGUl'JM.V.IK.
nutmah Is to have a government engineer *
Ing school.
Chicago has 3,788 teachers employed In her
public bchools.
There Is a marked Inc-caso In the reglstra-
tlon of the University of Minnesota.
Japanese graduates of Cornell university
have organized an Alumni association at
Toklo.
N. 1' . Coburn , the founder of the Coburn
llhriiry at , Colorado 'college ' , at Colorado
Springs , died recently , and left an ad
ditional bequest of $10,000 to ths library for
the purchase of books ,
Piof. W. 11. Ramsay of the University of
Aberdeen , Scotland , will lecture at Harvard
university , the Union Tnqolaglcal seminary
and at the Auburn seminary this fall. It
Is Dr. Ramsay's hook on 'The Church In
the Roman Umpire before 170 , A. D1 which
won for him the rare dlHtlnctlon of a gold
medal from Pope Leo XIII.
An English paper says ( that a young
woman of Glrton college , England , recently
advertised for a classical "coach , " meaning ,
of course , a private tutor. After a time sh
received a letter from a local coach builder ,
who sent her a pressing1 Invitation to In
spect his stock , and ottered even to build
her one In the classical style , adding that
ho know exactly the clasa ot article aha
wanted.
A recent number of the Journal of Educa
tion had a. viry Interesting and Instructive
article upon the comparative costs of war
and ot education. There Is no better procf
ot the barbarism of even the most civilized
nations of the world than Is afforded by
a comparison of the sums expended for tha
maintenance of physical supremacy ,
against the expenditure for mental Improve
ment. Though It be assumed that brain U
better than brawn , there la little evidence
that statesmen so regard It From tables
complied by the Journal of Education , wo
take the following , whlch'glvea the atnouht *
Jier capita expended In various civilized
and enlightened countries for military and
educational purposes , respectively :
Military , Education.
Franco , . . , , , | 4M ) ,7 *
England 3.7 ! , tl
I'niMla 2.04 .M
Ilutda , 2.04 .03
Austria. . . .1.38 .31
Italy l.M .M
Denmark , , . 1.7 .14
Holland . . . , . , . . . . . " . , 3.&S . ( I
Switzerland . , . . , U .4
Unllrd Hlatca V ) I.M
fiore.
Indianapolis Journal : "Excuse mo , " tald
the hotel clerk , "but you have forgotten to
register your home addrosa. "
"If you must know , " snarled the man
with the alligator valise , "I'm from Terr/
Hut , darn you , end Nancy Hanks la the
faateat trott r In ( hi world , njhow , " *