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About The Loup City northwestern. (Loup City, Neb.) 189?-1917 | View Entire Issue (Sept. 21, 1911)
IWoMANLovelies' atIorty | AS EXPLAINED 5Y CAROLINE OTERO TO STERLING HEIUG ^ A co/>r/r*vrrar/*;/i/?t&y/waco. IT - OMAN Is loveliest at - ■ The speaker herself seemed h—sr lovelier Item whes adc tttlng lorty-cme years past. For twenty years Farts has called her The Beaut l fill Otero, and she Is still at the height of for tune as the most famous dancer and the ■tost hejoneled prote - st’ cal Usn-Jty of the pr Krearh capital. She exp steed hsrself: 1 refer to fine women la health ar.d the enjoyment of rational luxuries, they need only twe things to triumph in the charm of their full So*meg—will to keep te eondlUcs. and mastery of that pa:hade d legale which tempts them to stand buk la the shadow " dh* rose cad pared the room with eat lise grace She matched a man’s hat f'osr the tiUa corked It ever her ere. rung in*- ts4 of s r oak over her shoul der. :JM sirwch ■* attltttde “I have our value Impress* d on me ever la the Spa. t«fe dance." the said. / The grand dance of the flames ra' | M hat a dance, monsieur, shat a drama' \ V Is the whole of woman s life j0 thre. \ —F= V"r/f£ WOJiAff Of £OJ?7Y/3 POS/TJVfLY LOV£L/£J7‘l I know of nothing so eloquent of her superior loveliness.” "Let her arrive unknown in a community and confess thirty one years. The other women will give her thirty-eix on prin ciple. And ail the men. suspicious of their women’s frankness in such matters, will be sure that she is a delicious creature of Possibly thirty-four, grand maximum, of unusual tact, poise, sup pleness, quoi? ail kinds of graces of unknown but obviously su perior surroundings!" "We see it every day,” l said. “Fine women have the age they look." "No, no, the woman of forty Is positively loveliest." replied the lovely specialist. "We must distinguish. Physical loveli ness is one thing, academical perfection of form another. Paris painters of voluptuous subjects—nymphs rolling green lawns, bacchantes sprawling in pagan festivals, courts of Neptune sun ning on golden sands—have always been reproached by their un compromising brethren for ’doing chic’ because they wilfully age their models. To attain the acme of sensual beauty, they enlarge rotundities, exaggerate curves, tend toward the corset waist—bete noire of purists and delight of gods and men—and arrive at an unearthly charm by giving the nymph of eighteen a whole set of outlines that she ought not have for flrteen years. What is this but glorifying by chic’ the beauty of torty—whom these painters seldom obt aiu as model, because there is always some man to prevent it!" "Also,” I said, "they must pretend their nymphs are eighteen— for the man of forty.” "Betises!” laughed Otero. "In times past overweening plump ness may have been a danger to the lazy and self-indulgent— even at eighteen; but the modem line woman changes little be tween thirty-live and forty-live. As for academical purity of line, none but uncompromising painters and sculptors want it_ to give purity of sentiment; and it is lost, not at forty, but at twenty-four. The episode of Eberlein is classical. Struck by the pure beauty of a twenty-five-year-old model, th® famous sculptor noted down minutely, numerouslv. -/ C/f/T JlA/VCjT Tff/r r#AC.CD'r/ffyf} /A/y FOXTY-OftJi” doubt! Love liness is a liv ing thing made of beauty, charm, grace ■Hi desire, seder*ice. tragic triumph. Never has dramatic work expressed femininity witn the grace mystery and te*eo*l*.y of those three •renew Now. look yoa. In the south of Spate they soy It takes sight years to form a •a=-<*oe* Per?ec*lot la unattainable; because <ksa <-ihaK*m( dance—twelve minutes'—show a*e a daaaouse of the opera who will accept a variation of !»«!»« minutes—contains three trdaa that ace on -one-ted tbo Ingenue, tfct axacmiwns, and dhe tragedienne. One ought to be ‘lateen years old »o dance ike first — and forty to dance the end of »te drama. In •hick Rsfeda. magr tfleent at fifty, fixed the irs^tloa “ Madame." t asked, “la tl possible *hat you are old emengh to dance that third act?" *1 am httr^sc." she taegfcxi ~l had made two trips to the Cmtfd Staton before I nettled la Parts in ltfl: and 1 »na just of age when ■> art tag out If 1 am an* worn Ilk* some great flamencos It la thanks to the life of Parts Thoao woo remain In fipale use themselves up. moeadesr. It h n magnlfcenl public, but It fatlgnan the n*Wt la Parts, the good people mtereet themselvea as much In my jewels and accept whai I give them do 1 have been able te Bve reasonably. Luxury la good for a wom an of a^f-control Those aoft creatures who Be around and over-at. I have no patience with them' ! have always had unconscious "sluing »rum my work, though I owe much to the Turkish bath . . “ The Hammam - I a#k*j • No BO. j have a svau box In tay apart ment fitted with fifty electric-light bulbs. I often take H lour times a week vrben not daartr-g. feUtxd »i;h % tepid douche, turning oa*d There Is an apparatus to frighten ronwg bees'tes. monsWcr * ~ Certalely a remarkable woman. On the »«age. Inm Copenhagen te Vienna. Iron lam don to Rome -he is known, always and above »E. aa a beauty She rings after a laahion. As has aids »in ce*sfui ventures Into pan tomime. And new. at forty, she has made her self an fietfemi at merit. appearing In emotional roles on tie grsa» Paris stage Now. also, at forty, she f oo-ltue* to rose for the test sell ing lea nil phot'.graph* oa the Kurcpean mar ket After her oomsa Idas Cavaliert. with no thlnl tn their ctaas Other beauties sell as well to certain successful poses; but Otero and t'aranm never cense posing * Women of forty** exclaimed Of era “What di-dnlfi. what, proud anticipation. what unhappy Kistorscr*. hastening out to meet late mere than half-way. cause so man? to Ig •erw their aplowdttr and eves wander tiro self tractions, yes—and also the tnaniere de s'en servlr! The way to use them! Here Is the tri umph of the woman of forty—when she gladly lets herself loose!” Why not?" l murmured, fascinated by one who certainly lets herself loose. She contin ued gaily: "Why, the Intuitions of the very young man are unerring in this matter. The youth of sev enteen. with senses painfully fresh and keen, b^ias with a grande passion for the woman of forty. Instinct tells him that she is the loveliest. The thing is traditional, from Harry Esmond down to Porter Charlton. And Joseph even; how did she get that coat? We laugh. Laughter Is a sudden glory—over human mis chance. The youth himself refuses to arrive at charming forty beside a woman of sixty three; yet his first untroubled judgment was to award the apple where it l>e!ongs.” 'The man of forty evidently. . .” I began. The worst enemy of the woman of forty is the man of forty." persisted Otero. "She is the mirror in which he dreads to see the shadow of his own degeneracy—forgetting that his wear and tear of ten years past have not been her*. So the man of forty marries the girl of twenty-three. In spite of his wear and tear, she finds in the charm of the full man her profound satisfaction—without looking ahead. Why look ahead? In Paris we see daily men of forty making Inexperienced young fellows ap pear foolish For example, I will cite 'the best loved-man of Paris,' over whose elegant person five hat-pin duels have been fought in the past three years—the latest on the Biarritz board walk. between a young matron and a bud of society He will be forty-two years old next February " Otero did not cite his name, so I will Imitate her wise discretion. "The man of forty Is vain and suspicious," said Otero. "Even when in full possession of his physical and mental perfections, he must punish unoffending loveliness that walks be ?ld» him in the path of years. Oh, yes, he makes the woman of forty suffer! The fair creature would be more than human not to re sent it. I'nspoken malice in her laughing eye cruses the fatuous fellow to grit his teeth with hate. And so two perfect creatures, at the flood of all that is best In them, too often turn their backs upon each other, leaving opportu nity open to less prejudiced hearts and heads —to girls with their Intuitions, and to men of fifty purged of petty vanity!" Even so. women of forty rule Paris. Madame Otero collects portrait photegraphs. Scatter ing a package of foremost Paris beauties on the table, she called off their ages for me. I was surprised. “Who thinks of their ages?” she said. "Some were not so beautiful when younger, l^ook at this one . . . and this . . . Here is a lady with an almost Insignificant nose; and her eyes were never much until she had them tattooed where actresses pencil. Here Is one with not a perfect feature, yet her physique and temperament are delightful. And this other, without the noble spirit breathing through her look, would she not be almost plain?” She said true: yet 1 had passed p" as charm ing. Ali have beauty reputation. When a woman like this gives away her sisters it is edifying. Otero showed me how one splendid creature fought for years against a double chin and conquered; how another began bony; how another has learned to dissimulate a trumpet nose. Stop!” 1 exclaimed. “You will make me think that all young women are full of de fects!" "They are.” said Otero. “What is time for but to correct them? Scatter the photographs and look again. You will find them beauties now in any case! They are radiant. They have learned their power!” It was even so. There were flashes of ec stasy, gleams of delight, eyes that spoke soul awakenings, lips parted in mystery. There were coy faces, faces that asked baffling ques tions, confidential faces, high, courageous faces, faces that breathed sweet, sad reverie. “All kinds of faces, except wooden twenty year-old faces, hein?” laughed the subtle Span iard. “A Paris photographer has given me a partial reason why their faces are lovelier at forty. It is because they have been photo graphed so much.” "The effort to resemble one’s best picture?” I mused. t < “All that, in general; but he claims a par ticular influence of self-suggestion. We come to resemble our best photographs by gentle de grees, unconsciously, when they follow each other in a long, changing series.” “Living up to last week’s photograph makes next week’s photograph still handsomer," 1 said. "A '.hundred photographs completes the cure.” "He was a photographer, of course, and gave the entire credit to his art." replied Otero. “Perhaps the secret is encouragement. How often we have seen plain women bloom out. We women guess the secret cause—the trans figured one Is happy In love. She has been en couraged." "Oh, well then,” 1 said, “any way to encour age oneself! . . “That's it! Beauty Is a habit!” exclaimed Otero. "It is the habit of those who have start ed encouraged! Let the woman of forty mere ly conceal her age, and the trick is half won. an ner exact measurements in order to repro duce such a perfect anatomy in marble. Pour weeks later, in verifying the measurements be fore an incredulous confrere, he was astonished to discover that not a single one con corded; the academically perfect anatomy had budged all along the line—toward the voluptuous beauty prized by common mortals!” "And the manlere de 6’ en servlr!” I mused. I accuse not only the young girl's green acidity, her forming body, sleeping tempera ment. and crudity of mind," summed up Otero. "In northern lands, tbe sleeping parts may get the sand out of their eyes by twenty-five: but, even then, years pass in looking round and wondering what this world may mean. So, at thirty, the average young woman, loaded down with natural arrogance and ideas that have been imposed upon her, tranquilizes a grow ing disquiet by repeating to herself: 'I am a young thing!’ I p to thirty-five the satisfac tion of ruling may have been her chief profit. Now she wakes completely to the pulsing life of things, knows herself and—dismayed by sense of loss—plunges avidly, or else—” ”—Or else, discouraged, sinks back, mur muring: ‘I am an old thing!’ ” I finished the sentence for her. “That’s it,” laughed Otero. "If she grows panic stricken, she enters the terrible quaran taine’ indeed. They may be the ’terrible for ties’ or the ’splendid forties,’ as she makes them, as her world permits her, or as she dom inates it. with happy Insouciance brushing aside every obstacle and flinging herself Into the harmonies of an Instrument finally at tuned. Then she is truly terrible—terrible to younger. undecidM women whom she mocks and bamboozles, borrowing their admirers from them out of pure lightheartedness; terrible to men, on whom she avenges the neglect of years to come!” Treasure From the Sea. Boys that live at Pine Brook. N. J„ did not know that there was a buried treasure near at hand or they might have gone hunting for It. Two fishermen found it. A strong line, much larger than you have ever used unless you have gone fishing for whale or something of that sort, was caught In the bottom of the river. The men tugged on it and found that it gave a little, and just then an automobile came along the road. The men asked the automobile man to give them a little assistance, and they tied the line to the rear axle and let the car pull on it. The line strained and slowly moved out of the water, drawing with it a wrecked canoe full of mud and stones. In the canoe was found a heavy chest, which was removed by the men and loaded into the car, and then the driver and fishermen went on to town. There they displayed the find, and the chest was recog nized as the silverware box belonging to a hotel. The box had been stolen in 1904. and no trace of the robbers had been* found. Subtleties of Portraits At _ | they have been trying all their lives u> hide. He thinks the painter some times does this unconsciously. The Instance is more or leas fa [ miliar, but he cites It as having come j under lis personal direction. “A strange ease of the revealing newer of the portraitist's art *aau under my notice some time hack. A ■eat that bafled all the doctor* ns advised by her family medico to try traveling for a time; there was a chance that such a change would Im prove her state of health. The hus band readily fell in with this advice, aa he wanted bis wife to be painted ,a distinguished foreign artist. Dur ing her absence tram home the lady's portrait was painted and to the en tire satisfaction of the husband. On tbnfr return home, n reception wee ar ranged to give their numerous friends aa opportunity of seeing the great art ist's work. To that nigMsa the lady's 4 -!SW» ' • family doctor was invited. He gazed long and earnestly at the portrait, aft er which he took the husband aside and said to him: ‘Now I know what is really the matter with your wife.’ ‘Well,’ answered the husband, ‘what is it?’ 'Insanity!' was the doctor’s one word. That lady died in an asylum within a year.”—From Chronicle and Comment in the Bookman. A New White Race. The Japanese is slightly yeUow be cause he has descended from ancestor* % that were colored by millenniums of tropical sunshine, but in the course of time the Japanese will be as white as any European. Even now there are vast numbers of Japanese who cannot be distinguished in complexion from the so-called white races.—Japan Times. To Freshen Gas Mantle. Carbon deposits which blacken a gas mantle can be removed by burn ing a little common salt on the burn er. QUALITY AND CONFORMATION OF TYPICAL DRAFT HORSES Ideal Animal Will Show Vigorous, Lively, Energetic Dis position, Vet be Docile, Tractable and Intelligent Form Should be Broad, Deep and Evenly Proportioned. (By A. S. ALEXANDER.) The typical, ideal draft horse stands over 16 hands (a feet 4 Inches) and under 18 hands high, and weighs 1,600 pounds or more in ordinary flesh. The form should be broad, deep, massive, evenly proportioned, and symmetrical, the entire make-up sug gesting great strength and w eight. The body should be massive, blocky, and compact, and squarely set on short, broad, clean, sturdy legs showing fine skin, large joints and prominent ten dons. The bead should be large, propor tionate in size to the- body, well formed, clean and free from coarse ness and irregularities. The forehead should be broad, full and not dished or too prominent. The profile of the face should not be too straight or of “Roman-nose” form. There should 1 be good width and fullness between •the eyes, indicating power and intelli a 6 c a Correct and Incorrect Types of Pas terns and Feet; a. Pastern Too Straight and Upright; b. Pastern Too Sloping; c. Correct Type of Forefoot; d. Correct type of Hind Foot. / gence. The eyes should be bright, clear, mild, full, sound and of the same color. The lids should be smooth, well arched, and free from angularities and wrinkles. The ears should be of medium size, well placed, alert, normally active, and free from coarseness. The nostrils should be large and flexible; the lips thin, even, and firm, and all of the parts neat and cJ&an cut. The skin and hair of the muzzle should be of good Quality. There should be a wide space between the lower jaws free from meatiness, abscesses, or tumors. The neck should be of a size proportionate to the rest of the body, well arched, evenly muscled, with large windpipe and smooth insertion into the shoulder. It should not curve downward (ewe neck) or be broken in crest. The shoulder should be moderately sloping, smooth and extending well back. The arm, which extends from the point of the shoulder to the elbow, should be short, heavily muscled and well thrown back. The forearm, ex tending from the elbow to the knee. 6hould be long, flat. wide, heavily muscled, and free from coarseness. The knees should be straight, wide, deep, strongly formed, and smooth. The cannons, extending from the knees to the fetlocks, and composed chiefly of bones and tendons, should be short, strong, clean and wide, with promi nent and smooth tendons. The fet locks should be wide, straight, strong, and free from puffs, callouses, or in terfering sores. The pasterns, extend ing from the fetlocks to the hoof beads, should be moderately sloping, strong and clean. The tendency in the average draft horse is toward short, upright pasterns and stubby gait. This is highly objec tionable as are also very long, weak pasterns, which bring the back of the fetlocks too close to the ground. The latter cause strain upon the tendons when drawing heavy loads. The short r^right pasterns are even more object tionable since they prevent springy, elastic action of the feet and allow concussion to jar the bony columns of the legs. The irritation and inflam mation induced by continued jarring often results in sidebones, ringbones, corns and kindred diseases. The bone of the pastern should have a slope of about 45 degrees and the front of the foot 50 degrees. Horses having up right pasterns and consequent stubby action wear out quickly when used upon paved streets. The hoofs should be ample in size, sound, smooth and symmetrical in shape. The chest, inclosing the heart and lungs, should be roomy in every re spect. ‘An ample,'wide, deep chest denotes vigor, power, strong constitu tion and easy keeping qualities.” The ribs form the "barrel” and should be deep, well sprung and carried low at the flanks and close to the hips. The back, extending from the rear of the withers to the last rib, should be broad, straight and muscular. In gen eral appearance it should denote great strength and compactness. The loins should be short, wide, deep and strong. The underline should run back full and low from the floor of the chest. The upper part of the hind quarter should show great development of wide, thick, smooth muscle without angularities and coarseness. The croup, the part of the hind quarter from top of the hip to the insertion of the tail, should show comparative levelness, ample muscle and great strength. The most notable deficiency of this part in draft horses is excessive droop. Good and Poor Form in Croup and Hips: a. Too Short and Steep; b. Good Draft Type. or steepness and shortness, with weak ness of muscle. Such conformation tends to slouchiness in gait and often is associated with “sickle” hocks. The draft croup should be smooth, of fair length, and neither too steep nor per fectly level. The thighs from the hips down tc the stifles should be strong, muscular, wide and long. SHEARING SHEEP IN OLD WAY I"., wr; ;'*«**■ \ ui.' Machine clippers are rapidly taking the place of hand shears, as they do the work more quickly and with less laceration of the animal's skin. On the large sheep ranches of the west a number of sheep-shearing machines are run from a shaft propelled by an electric motor or gasoline engine. Smaller machines are also made which can be turned by hand and with the aid of one of these, two men can do as much work m a day as six In the old-fashioned way. Dairy Farming In Arkansas. Dairy farming in Arkansas is at tracting wide attention and is growing very rapidly. MILLET CROP IS VALUABLE U is Good Milk Producing Food and Yields Well on Good Lund—Moisture Is Essential. (By WALTER B. I.EUTZ.) The claims or millet as an impor tant soiling food rest upon the fact that it is a good milk producing food, that it yields well on good land, that It may be grown as a catch crop and in hot weather in some instances after another crop has been harvested. Its weak point as a soiling crop is the short season during which it can be fed. The great points to be kept in view In preparing the land for millet are to have it finely pulverised and moist and 'as clean as possible. The question of moisture is all important If the land can be plowed some time before sowing the seed and rolled and harrowed a few times in alterna 1 tion in the interval, the process will j be found helpful not only in retain ing ground moisture a short distance below the surface, but also in accumu lating the same even In drv weather Usually depositing the seed with the grain drill is more satisfactory than sowing broadcast and in some instances following at once with the roller will make the difference in a dry season between success and fail ure in the crop. Sow from three to four pecks per acre Tor soiling and of various vari eties. as Hungarian. German and broom If targe varieties like the Japanese kinds are used, they are usually sown in rows and cultivated. Prom i2 to £ obmfnJTr m“1*t Per aer* a>ouU beobuined from good and well-man Kllla Big Bagla. ;<« - '.ZZZ fsrmer had missed S&a
