The Inter Ocean from Chicago, Illinois • Page 27

1 MMERCE 31 Americans do many brilliant things and fail to do many wise ones. In a land so abundant in opportunities that achievements of fortune seems to the vast unthinking crowd really almost a matter of blind luck, it -is not strange that the excitements of speculation should occupy 'men rather than the calmer and more far- seeing preparation for and understanding of the possibilities of life. The foreign critics who harp upon the eager pursuit of riches by the American people are not just. They should throw the blame on providence where it belongs, if blame is due For as the craving for power is ineradicable from the human, heart the desire for its acquisition in the form of money is Just as worthy in itself and Just as admirable as any aspiration for knowledge or any other form of power, and becomes a fault only when it oppresses others or as an over stimulant stunts the growth and debauches the soul of its possessor and thus defeats its own highest function. It is an interesting question, indeed, whether pursuit of riches is not after all in itself one of the noblest incitements, for men hate a money grubber even worse than almost any" other kind of a tyrant and oppressor, and, on the principle that the higher the rise the greater the fall, this is accounted for by the veiled consciousness men have of the fact that as the powers of the successful accumulator are among the highest granted to man, so their prostitution to serve an utter selfishness is the most hideous debasement.

In this land, as the continent is broad and free, so in the domain of the true moralities is our horizon enlarged and a greater latitude in the pursuit of wealth is both permissible and availed of, so that while the American people seem to foreign purists a vast horde of venal hustlers the average American is quietly conscious of considerable rectitude and when he "stops to think about it at all, has an idea that he is but fulfilling his destiny and that he is all right If he only "gets there." And a fair answer to our foreign critics that is quite as deep as the foundation of their strictures, at least, is that if we are a Nation of money-getters we are money spenders, too. As to the wisdom of our methods, either of getting or spending money; that is another matter and a fit subject both for inquiry and criticism and is in a sense the subject of this article. The chief avocations ot men that directly affect the welfare of the race are bnt few. Agriculture, war, trade, and religions and political government sum np the classification and comprehend nearly all minor pur-' suits, either creative, destructive, or mediatory. War, apparently the greatest agency for destruction, generally considered dreadful since the advance of civilization, is still the one thing all men must provide for and ean neither prohibit or ignore.

It does not create power, but wastes it. It shifts dominion, but often destroys the victor, and while often beneficent it is the oue great solvent that like the sea may bear upon its bosom the world's argosies of hope but may also melt them into nothingness. Agriculture, lauded alike by poets end politicians, is creative, primitive, necessary, bnt produces neither content nor spirituality, only substance, that may sustain but does not stimulate ambition. Trade is the superior of all. It is at once vast and subtle in its operations.

It controls the destinies of dynasties, republics and religions, controls science, creates new power, and fires the imagination of the poet. It invokes the lightning and the ocean waves to do its bidding, arrays the elements in unison or against each Other in its service, and it is the evangel of the world's conscience. It arms for conquest, but it carries a balm for every wound inflicted and for every hope it destroys in conflict it plants the seed of a myriad of others that may bloom immortally. Some A Business View jr. Simply this: Trade is the reigning soverign in America, but, with a strange blindness that no regal or ecclesiastic sovereign has ever shown, has failed to recognize the power that lies in art; a power that could enhance the glory and dignity and arm for every conquest its sovereign Trade, and, not destructive, but creative and beneficent in every way, could enrich our land and through our land the world, with happiness and content and without stagnation, and could immeasurably increase the vast aggregate of human efficiency, not by accumulation but bv diffusion, not by concentration and intensity, but by self-multiplication illimitable and a stimulus to a spirituality healthful and divine.

Speak of art to the average American businesss man and he does not know what you mean. His reply is, "ph. I don't know anything about pictures. I know what pleases me," etc, or he frankly says he doesn't care anything about art; be hasn't time, or hasn't given any attention to it. He supposes that art means the production of pictures, and has not tho, siigniesi recognition 01 its real connection with human life and business.

Bnt the painting of pictures or producing of statues is the most limited function of art, and if these were all tht art could do the world possibly could get along without them, making up to some extent for their loss by something supposably more strictly utilitarian, althougn they have a far greater utilitarian value than many men suspect. But the Dutch have an old proverb derived from the ages, to the effect that "well set off is half sold," and one great practical value of art is its power of presentation of the customer in attractive guise and in forms of beauty that -make their use a continual delight. Every merchant knows bow much more salable are wares and goods and at how much greater profit they can be sold if they are really beautiful in color and form, though he may not know how much real art and studious observance and skill went into their making, and if he does not actually know what real beauty is he can neither buy nor sell understanding, but is at a disadvantage in all markets. The supreme test, which is the lasting satisfaction of the buyer, may find the merchant lacking in knowledge or discernment and so ultimately leave him wondering where his trade has gone. The creative faculty in art is the touchstone of success to the manufacturer, while to the merchant it is the suggestive broker or mediary that attracts and rouses the imagination of the customer.

Like all good and great things, everything is good that springs from it, and its suggestiveness, invention, and progressive action are as limitless as their fruition is unfailing. The real-estate agent and landlord in this country may learn that a building will bring a higher rent and be rented more quickly if it is beautiful, only the beauty must be real, and, however rich, must have the thoughtful charm of simplicity, and not hide the shams of flimsy construction under pretentious ornaments. Art teaches men to be sincere, observant, moderate, tasteful, and the architects are learning 1U lessons of this sort. It has been said as a reproach that there are no ruins in America, Buskin, it is said, refused to visit ns for this reason. But considering what those ruins would now be if any existed, we ought to thank God that there are none such monuments to the gigantic frauds, the makeshift shams, the intolerable violations of taws of use and beauty wwy cuaracverizca our DullUing arts.

One-hundredth part of the money that has been wasted in Chicago alone in such methods would have built. ennlnnoH and endowed the richest, finest, and most effective art institution In the world if rigouy nanaiea. Have the business men ox America shown acumen in their hHnH. ness to art's power and helpful benison if suca woras as inese are truei The picture could be drawn a thousand-fold more inclusive. me government spends hundreds of millions upon battle-ships and all the enginery of destruction or preservation, bat scarcely a dollar upon the creative arte.

Now and then for some political reason or other it appropriates large sums for military or agricultural colleges, and in its per- functory way has managed to getaway with something over $400,000,000 for education, that, so far as commensurate discernible results are concerned, did not educate. A twentieth part of the money expended properly upon foundation of art would nave made this country all supreme in trade, and the consequent development of material resources now lying still untouched would have made this people permanently self-sustaining and permanently happy beyond all parallels. But the cheap cry of politicians against the bugaboo of paternalism has been used successfully to bamboozle the voters, and want and crime and the gambling vices, that might have been kept from the people by cultivation of the inherent human love and interest in the creative arts, are as rampant as in the worst of all nations and burden all the land with a hateful load, dishearten charity, and spread infection, besides the misery they infect upon the people themselves. There is a spectacle that Is common only in English-speaking countries and is there regarded as an evidence of civilization and grace, or an evidence that hope for the regeneration of mankind is not dead. Earnest, eloquent men hold gospel meetings and preach the merits of salvation by faith as the remedy for every human sorrow and 11L Thousands flock into the sanctuaries to feel the mental intoxication of the magnetic eloquence, to have fainting hopes revived, to seek alleviation of fear, or in fervent aspirations of gratitude.

In their figurative spiritual sense they hourly build np the church anew and rear its beautiful pinnacles of hope upon the foundation of eternal love. Bnt outside the world goes on in harlotry because it is hungry, in churlishness because it is ignorant, and in crime because it is idle and both hungry and untaught how to be self-sustaining. If honest, the main self-respect it has is because of its strength to labor. It watches with glowering eyes like hot coals and a dumb fury that blackens into bate the self-absorption and the self-respecting decorum and polite demeanor and well-clad satisfaction prev-ien and if accosted at the church door or elsewhere with a kindlv. well-meant inquiry after the welfare of Its own soul it laughs with ferocity or receives the inquiry with a snarl and goes to its SOME PICTURESQUE TYPES.

one said, "Let me write the songs of a nation and I care not who makes its laws," meaning that he by sentiment could win a nation's heart more easily than it could be won by wisdom, and thus wield a power greater than could be established either by justice or by the sword. But a merchant may be more powerful than a general, a business principle more potent than patriotism, for it was the honor, repute, and credit of Morris, the merchant financier that supported the American revolution when neither the entreaty nor the splendid achievements by the sword of Washington could avail; when sentiment had lost its hold in face of disaster and privation, and hope grew blind and feeble. The keen, unerring eve of interest and the discernment born of business experience allied, to business honor prefigured the cause of human liberty and prejudged the issue with, all confidence and daring rather than self sacrifice, and met the exigencies that in turn rightly utilized made this Nation free. It is not without just cause, therefore, that Americans follow the flag of trade. Hereditary pride in aristocratic blood is a poor fustian thing compared with a recognition of equal rights.

Trade is a sovereign whose domain is the world and whose accolade carries a (ouch of nobility no Imperial favor ean for it may be won by every man of honor, and like a talisman it holds its brightness only as that honor is No aristocratic descendant of mailed robbers who obtained heir patents of nobility by loyalty to some claimant 01 oivine ngm to rule can look down without discredit upon the merchant who is loyal to fair play and equal hghts. But it is one of the frailties of human hature set as divine limitations upon all fforts that success tends to make men an-oc ratio and an autocrat is always wrong-. so sooner do the vast accumulations of tower in iorm of money derived from solvit ies of trade settle down into recepta-iies and act only through grooves and fixed jonductors than their energy becomes re-jctionary instead of progressive, and the ian who owns it all must be great indeed heart and soul, in patriotism and devo-ion, to resist the impulse to become an htocrat under its influence. What bearing has all this upon art! -s THE SUNDAY INTEH OCEAN, DECEMBER 3, 1803. home in hell's half-acre like a wild beast to its lair.

Yet there are hearts as tender among the proletariats as in any of the churches, and as capable of all the glory of self-sacrifice, and there are in the churches hearts divine in pity, and yearning almost as their master was over the condition of the people, and eager to find the effective way of love to reach them. How shall these be brought together upon the broad high plane of true humanityt Not by charitable giving, though that is good for the giver. Seldom by the usual humanitarian methods of sanitation or education, for they do not interest the dulled sensibilities or the tired intelligence of the poor, and are a tax upon their time, that is' already insufficient for the grind that keeps them alive. As for petting the poor or even the well- to-do working classes into the churches or the Sunday schools, that attempt is a hereditary failure, that has been handed down from one religious enthusiast to another interminably. The rronnd of civil liberty and citizen ship has been tried in this country, with the only result so far that it serves well for the marching ground of political armies or a playground for political games, according as the occasion may be serious or offer chances for skill and venality.

But if commerce should step forward from her throne upon her royal dais panoplied in her rot? of state and beautv, in spired, and glowing with courage, enthusiasm, and sense of duty, she has shown how this land of hers, a thousand times in a thousand daring do as other sovereigns in otner lands nave done and instruct her minister to build upon her loveliest situation the real city of a dream, where art could gloriously instruct, amuse, and interest the people; where men. no matter how hlrh and rich. could learn the worth and pure delight of created beauty, and where men, women, and children, no matter how poor, could learn the life-giving creative arts which endow human hearts with innocent enjoyment, proud independence, and noble, sturdy ambition. I think it would not be hard to see in commerce the angel of redemption. You cannot soften despair by blows or threats of the wrath to come.

Yon cannot feed the hungry on stories of annunciation lilies or stay their pangs of famine or of helpless rage by the tale of a God who died 1,800 years ago to save them from they know not what. They do know they are hungry mentally or physically, and the instinct of life is strong and thought is Immortal. Show them the way to earn extra dollars or to teach their children greater skill, and you will convert them from an ever-brooding menace to a strong if humble bulwark of society. They stand and gaze before a work of beauty, and their hearts ache and quiver and throb with longing, while in their souls they know they, too, have the creative faculty divine. If genius Is found among the rich it is less apt to know or to use its own divine power- than when among the poor it strives and strives for opportunity.

When genius touches common clay its product inspires the admiration of the world; it provides the revenues of empires, and it is the pride of princes. In the great gun of the Krupp exhibit the world beheld1 the symbol grim of the gendarme, umpire of Europe and of national life and death, but in the lovely dreams of color and luxuriance of grace and delicate imairinings in the exquisite porcelains put forth to crown the German exhibit of liberal arts both Emperor and people showed their poet souls and won more upon the world by beauty than they ever could bv fear. There is a dilettanteism that is murderous. It fosters every evil trait that leads to plutocracy in order that its usurping self may thrive, and it often diverts the efforts of business men that are meant to glorify and encourage art to its own mean ways and petty uses. It steals into place and disgusts the sincere artist there by exactions and assumptions and petty tyran nies, and then fosters misunderstandings between him and the business element till each side seeks an angry separation.

It has hitherto sometimes succeeded in this country in alienating from each other the two chief powers that wonld be effective for our civilization and material and spiritual euivore, ana tna snonia oe tne ones most lovingly and closely allied of ail; for commerce ean never do without art what the world will deem wholly admirable, and art can never, in this land at least, achieve true greatness except by royal and magnificent largess of consideration and wise investment by business men. All the business men in any commqnity. nowever unitedly tney desire It or enthusiastically they may pour out their money for it, ean never make an art institution worthy the name where artists are not interested equally and equal voiced with them in all -matters pertaining to exhibitions or instruction. To merely employ an 'artist as an instructor, giving him no real voice in the management of schools or exhibitions, as several institutions have done, is to usurp his social, functions, to rob him of his privilege and ambition, and kills the efficiency of the institution every time. His task is perfunctory and that of a slave, with ho redemption except by severance.

The same dilettanteism holds all these matters as means to social prestige and to be reserved to the holy rich, but art shuns such a locality and such a community with a wisdom unerring. The same spirit re-, moves the galleries of art to distant parks away from easy reach of the poor people of toil and thus destroys their art power and ministration for the sake of a paltry exclu-siveness that is the dry rot of civilization and would be death to art if art could die. But in the dear loved city of our dreams, where life is rea' and shuns these where all the light is rose-colored with celestial thought, where commerce folding her empurpled wings will look in dreamy contemplation down upon her works of love and her divine humanity, while art returns an answering smile of happiness in glorious effort, God will not let such things exist. J. F.

GooKnra. FOR WHIST PLAYERS. Shrewd Flaying la the Minneapolis-Chicago Game. Hand S9. Spades.

Hearts. Clubs. K74S10 86 10 9 6 7 1014 I 8 AB 6 W.KQ8752A 8 Diamonds. 964 4 1106 AK7II tt-in oi nearca turned by N. E.

to lead. N. E. W. S.

E. S. to 4d tAs toe 8e 4h 6d Jo Ad lOd Js 4c Ke tAd Kd as 60 so -4s 80 t2h. Qs Ss Ks Ju 6s 78 I l.a.50 JO 6d 8. Js lOd tAh 6....80 tQe tAO 8o tAd 8d Ss 2s 2d 4s 6c Wu Ks 6s 6s JQ 2h tAh Qs 7s 7....

10a tKe 9o 8h 70 8h 8d Jd tlOn 8s 7o 2d -tOn 10a 8d 0h 7d 4o 7d 8s tQh 10s t2o Kd t7h Hfh Score- a N.fcS. E.4W. Minneapolis 6 9 4 8 imcago Gain of one trick for Mlnneannlfa. The hand was opened alike at both tables. The Chicago at second table, trick 8, changed the suit to spades, after showing his diamonds, and Minneapolis with king, queen, and five small, passed the trick, and as the ace and jack both fell he was the only man at the table who could place the remainder of the suit.

The score would have been the same at both tables, probably, if the N. at second table had not led a trump at trick 9. Hand SO. Spades. 6 1 Hearts.

64 AKJ6 Clubs. EQII 10668 A J64 Diamonds. A 106 lit Q8SS W-AKQ8 107 7 Six of hearts turned by E. to lead. N.

E. S. W. N. E.

S. Qo So 4c 7o So 40 70 Ko 6e 6o tTta 2c So Aa t7h 8o 4c 6o AO 4d Bd tAd 8... t04 4d 8d 6d 2s Ss 4s tOs Ss 108 tQs 6s 6s tKi 4s tKs 7s Js 10s tAs 6.. Js 6s- tAs KJd 7d Jd bd 7ff- Jd tAd Bh 6h 8h tKh 6e 8d Kd tAh Ae td so Jo tlOh So 8o tJo 8s Jh tQh 10a 4h tJh th sd 4t ten cd 6h tK8ti 6d tAh Sh 6m 0 10o tQh lOd 100 8h 6d Score. VtS.

E. A W. 4 9 Chicago 4 9 Minneapolis threw a trick awav bv trumping the diamond at trick 10, second table, but Chicago gave it back by playing the four of trumps at. trick 11. The Minneapolis W.

led fourth best diamond from a suit of six, headed by the ace; the Chicago W. led-the ace. Hud 81. Spades. 10 6 Jit Hearts.

8 6 A 10 8 7 4 1 Clubs. 4 A9 8SS Diamonds Ktie AMI 8 74 10 7 10 Knave of spades turned by S. W. to lead. N.

E. S. W. N. e.

a W. 6h Ant Sh Kh 6u jut 4h 2b 6st 10h 7h 6d Sd Jdt 10d Qst 9s 2s 48 6s 6o "Js. Ast, So Act Qo 100 7d 4d 8st. 40 Co Sst Ko 10st 6d fh Qh Kd Adt 70 6o 8o Kst Jo 1 10h Sh Abt 4h Act Qo Jh 7h 6o Sat AdtBd 2s to Jst 8d 8h 4d 9d Kht eh So 2a 100 lOd 4s 70 9h 4.... est 5 6c 7.va..J0irf 8.,..

4o ...10.... 8d 6s 7st Ast 6d Ks 8o Jd 6d 8st 8d 90 Qd Score. 7d N. 9o Qd 1 AS. E.

A Kct 6 8 Gain of 1 trick for Minneapolis. 7 Both hands were shrewdly played, but Minneapolis got the best of it. Upon tak ing the third tricK witn tne nve of spades the Minneapolis N. opened the diamonds, and his partner made his knave, whereas at the other table the Chicago S. opened the diamond suit afterrumping the second round of ciuos, and tu.

toot tne trick. W. having but one the remainder of the diamond suit was lost. Hand S3. I' Spades.

Hearts. Clubs. Diamonds. J10IIIQM: Ji 7 A9 AQ9876S 10 IH AIU7DIK. 1V WAJ9 664tKS J98 Nine of clubs turned 4y-W.

N. to lead. N. E. S.

W. N. E. 8. W.

6h 8d Qh 6d Jd SS I 8s 4o Qc t5o 10b. th tJh eh tAh tAd Ad 7s Qs So tKe Qd 9a td 7d 8d 8h 4d Kd 10S tKs tAo 6o Sd. 90.. Qh 6d Jd Ss 8s 6 60 Jh 2h tAh tAd 8d 7s tKo 9h td to 6d 7d 7h 4d Kd 10S tKs MtO tAs 6s Ao 90 4h tKh lOd lOd Js tAo Jo 8h 2s tSo 4s 7h tKh. t3o Js.

4h 4S t7o 6s. tlOo .12.. 9d t7o Sh 9d Sh Qd tioe 9s Score N. S. 7 7 E.

AW. Minneapolis Chicago 6 The hands were played in the same manner down to tha fifth- trick. At this stage the Minneapolis 8. led the ace of tramps, while the Chicago 8. led his fourth best.

This mads no difference in the result, how. ever, and practically the same cards made the tricks at both tables. Local Came. At the Saturday progressive game at the Chicago Whist Club there were eight tables last week. Twenty-eight hands were played four deals' at each of first seven tables.

There was a difference of fourteen tricks between the lowest and highest scores both north and south and east and west. Wood and Parry made the greatest gain, having ten tricks above the average of the north and south bands. Bollo and James made the highest score with the east and west hand, and had five tricks above the average. The average was made by both teams at the fifth table. The score NASEAWGaln Wood and Parry Willardand Cotton Parker and Kollo and James St-h wan and T.

H. Mead C. O. French and Dooley and Kraserand Hawes Trumbull and H. Walker and Kyfle Cottrell and Gilbert.

HUliard and Vtckery Trainer and Enrtght. Slayer and MlUhelL. Hartzand Owen Brayton and E. P. Marsh r- 178 169 10 19S 201 16T 187 166 168 164 167 169 198 196 too 197 195 .....1,545 1.57 24 I8 1U6 The players at the last table were not in the progression, but as their scores did not affect the average they were added into the total.

The Wednesday Tmraey. There were twenty-two tables engaged in the regular weekly tourney Wednesday night, fifteen in the sectional and seven in the team game. The. 4) laying was very close- throughout. tricks being the largest gain in either game, and the difference between the highest and lowest scores being but nine tricks in the sectional and seven in the team.

Himrod and Swift made the highest score in the sectional game, with six tricks to their credit. Wakeman and Ludlow and W. L. Mead and Gilbert were tied for second best score, with five. Foote and Fargo made the best score in the team game, havinrfive tricks to their credit.

Lobdell and Philpot were second, with three. The score: Sections ix Koxers snd w. 152 Stevens and Trumbull HUliard acd Hawes 145 McFarlanu and W. Kraserand Ehrlioh 145 Parsons snd J. L.

W. J. Walker and nutate. 149 Broomell and G. S.

Marsh and 160 MiU-helland Harts Swift and Htmrod. 155 Dickinson and Walsh and J. Wilkinson. 144 Wakeman and Evoyand Enright 151 R. M.

Kosrers. and Vickery Clark and Dean 151 Sinner and Woodbridge. Borland and Harris. 148 Cotton and Chandler. Myers and Green 147 Morleysnd Logue H.

T. and T. E. 144 W. L.

Mead and Gilbert Lowrey and H. Taylor 15S 160 167 167 163 16V. 167 168 161 159 164 165 168 Johnson and Berendson. 159 Stiles and H. C.

148 Read and 164 Strong and C. G. '147 Cottrell and Dooley 166 Totals ItSl 149 16S 44 Teams Avery and Flannery and W. H. Holden and H.

Walker T. H. Mead and Simons. Blair and Whitehead Foote and Fanro Trainer and Carpenter 150 159 145 154 152 147 150 162 162 167 158 160 165 162 lvirk and amen Heyer and E. W.

Taylor. yne and uwen Vehmeyerand McKelvey uoMouana fnupol Kollo and Buss and Totals. Averages. 1,048 1,136 150 102 16 The average was made at one table in the first and at three tables in the second Guest Hit-tit. Monday, Dec.

4, has been set aside as a guest night, and all players of the citv are invited to be present. A game wfll be played, and prizes awarded to the makers of the best score. The elubrooms are situated at No. 9 and 0 Madison street, fifth floor, AN IXQCIHY ANSWERED. Chicago, Nov.

29. Please give me description and information regarding Walter Gay's picture entitled 'Charity," in World's Columbian Expo sition, and much oblige F. G. D. Answer.

The picture of 'Charity," painted by Walter Gay, hung, of course, In the United States section. Number of room forgotten, but it was the same one in which Walter Mac wen's picture of "The Witches" The picture showed an old woman cutting bread from a loaf for two beggars, woman and child. The 'gude man" of the house is looking on, however, and evidently with disapproval, a fact which induces the housewife to cut a particularly thick slice of bread, evidently fearing that she will be allowed to cut no more. The picture is a very good one and impressionistic in treatment. Burdette Goes Shopping.

I am constrained to admit that women mav shop more advantageously on the cash system, but it is not In the way of man. writes Robert J. Burdette In an article oa "My Christmas Shopping" In the December mm Journal. I cling to the good, easy old way where you hsod your "transfer" over the heads of ererr- oouy in mo une ana say in -one breath, carrobagjsmasibrosstreests charre," which by interpretation is: "These roods have been purchased by the same neraon whom hum appears hereon; will you be so kind aa to send thsm to this address, is care of the baggage-master at Broad Street Station, and charge thent to the account ot the' purchaser? Thank you; good afternoon." And that's all there is of it for wn Then It clouds np and begins to rain. There la a arat dml of thunnar attended by atmospheric disturbance, with mean temperature and local cyclones.

ABOUT -THE STUDIOS Probable Consolidation of the Art Societies of Chicago. MRS. M. H. FORD'S TALKS.

Description of the Columbus Veronese Picture. The Jacqueline Exhibit Is Interesting and Novel Answers to Correspondents. Rumors have been rife for some time of the consolidation of the art societies of Chicago, and it is now authoritatively stated that ere long the Society of Artists the Palette Club, and the Cosmopolitan will all range under one banner, the object being' to make a marvelous exhibition in the spring. It is thought that the welding together of the clubs will lead to good re suits, as it undoubtedly will, not the least among them being the bringing before the public of Chicago its best talent under the auspices of a union ef societies talent before this shown at long intervals and in divers places. In a general way the societies need no introduction, being composed of names none of which are unknown, and some of which have during the past summer been surrounded by a blaze of glory.

The Illinois State Building was in Itself almost a monument to the talented young women of the Palette Club, and one who knew said of the beautiful statues which ornamented it that each reflected in some way the individuality of the girl whose dream of beauty it embodied. The Palette Club, by the way, has sometimes been spoken of as amateurish, which is most unjust, for many professional artists are members of it, and are proud of their membership. This la undoubtedly ao art year, as art talks throughout the city testify. Society must have a fad, and, luckily for some, the art fad is taking a practical turn Just now. Ladies with more leisure than talent are no longer content to cover all available space with prismatic daubs of impossible things, which might without sin be worshiped as representing nothing in heaven, on earth, or in the waters under the earth, but really desire to have an inkling at least of what art is or ought to be.

In consequence it is quite the fashion to form art classes, among all kinds and conditions of people of all ages, from the blushing miss of sixteen to the gray beard of three And for a wonder Dame Fashion has selected as a favorite a struggling little woman, whose pluck is about the only worldly possession she can boast ot It is Mrs. Mary H. Ford, who came to Chicago from Kansas City last spring with the determination to win a home for herself and little ones by her talent, that is in the line of art talks. She was a well-known figure in the AH Palace during the summer, where she acted as guide, and a guide she was in every sense, having the pictures, as it were, at her fingers' ends, and being full of anecdotes, which brought the artists as well as i their works before one. American to the back-bone, she managed to instill most of her patrons with an admiration fr the work of American artists.

It must be confessed that in regard to the old masters she is somewhat irreverent, and that she is much given to impressionalism, but, unlike most people with strong convictions, she does not insist upon yonr believing as she does, which is a very comfortable state of affairs after -Mrs. Ford announced her intention of adopting art talks as a profession many of her best friends were dubious, believing that however talented she might be Chicago was not the field for her. But she is fairly launched now, and one can speak of her as something more than an experiment. The women hae taken her np. She has been given a reception at Mrs.

Charles Higginson's, where she met and conquered what is popularly called "society." She has classes at home and classes abroad. Even the clergymen have awakened to a sense of what art may do for one, and among the classes on the South Side is one which meets every Monday evening at the Fifty-si zth Street Congregational Church, under the auspices of the Bev. Dr. Kubinkan. In short, Mrs.

Ford is he-fash ion. and being Inst what she is there are numbers who rejoice thereat. Of course every one is on the alert as to the opening of the Art Institute this week, Dec 8 being the date long since announced. Those who are fortunate enough to attend may well be excused if in consequence they put on little airs of superiority. Another event in the art world of less magnitude, but which promises perhaps as much pleasure, is the press reception which the Chicago Ceramic Association will give at the rooms of the Society of Artists, Athenaenm Building, Wednesday evening next.

Thurber promises a real sensation this week, being nothing less than an exhibition on Wednesday of Jacqueline illustrations. Lest an unenlightened public should go mad in its attempt to solve the mystery of what a Jacqueline exhibit may or may not mean, we hasten to state that "Jacqueline" is the book of the year, a French novel written by Bntzon and translated by Mme. Latimer book which will probably not be found to any great extent on the table of the thrifty-minded or the shelves of circulating libraries, inasmuch as- the first edition numbers but forty copies at $500 a copy. Even as a book it is a work of art, being printed on vellum paper in type of the clearest description, but it is the illustrations which constitute its charm. They are by Albert Lynch, an artist known to Paris last year as the gold medalist of the last Salon.

They are, even in the black and whites, exquisite, and It is the original watercolors which will be placed on exhibition Wednesday, and which will depose the Napoleon collection of last week. The Napoleon pictures, by the bye, have had a great sale, equaling almost Columbus pictures earlier in the season. But if Columbus is being superseded on this side the water he is having his innings in London. The attraction at the South London Fine Arts Gallery just now is the Veronese painting of "The Introduction of Columbus to the Gods of Olympus." For more than 200 years this painting has been the property of the Cooke family, of Glasshampton, having come into the possession of Sir Henry Winford, son-in-law of Sir William Cookes, of Norgrove Court, Worcestershire, when the former was British Ambassador to the Spanish court during the reign of Charles II. It has passed through many perils, and is now the property of John Kendall, of Hayes Lodge, Brixton, himself one of the Cooke family, by whom it has been loaned to the Art Gallery.

The picture is attracting much attention, more especially as the gods and goddesses are undoubtedly represented by portraits of persons living at the time of Columbus or Veronese himself. This great artist, who was noted not only for richness of color but for grandeur of composition, was also noted for his introduction into even religions pictures of living or historical persons. In the introduction of Columbus, Veronese has of course riven nortraita of Cni. Unions and his wife, and undoubtedly Isabella represent imperial Juno. The prints and descriptioa of the picture show tnat the scene is laid oa the top of Mount Olvmnus in Greece, Olympus in mythology being the celestial mountain and abode of the gods.

The group in the picture represents Jupiter and Juno, with the attendants Minerva, goaoess or wisdom, art, and science, and Fama. roddess of fame, holdinv a. wmth while an angel, ascending from earth to the summit ef Olympus, -proclaims the immortal deeds of Columbus. The figure of Jupiter is reclining in the same attitude as the "i-ersonuication of the Kiver Tiber" in Rome, and is apparently taken from the statue said to be in the Vatican. On the right of the Queen is the lion of Spain, and on her left the eagle, the favorite bird of Jupiter, and now the emblem of the land Columbus gave the world.

To the left are the ascending figures of Columbus and his wife. Although this great historical painting was injured In a fire through which it passed in 1810 it is still in a wondrous state of preservation, but requires cleaning in order to more fully bring out the rich colors for which not only Paul Veronese but the whole Venitian school were celebrated. Nearer home there is much to see, and one can always find something beautiful, if nothing startling, in the city studios. One of the studies in black and white at Abbott's during the past week was "I'se Biggest," a picture in which a great St. Bernard and a little baby boy, just learning to toddle, formed the central group.

Evidently as between dog and baby there had been a question of size, and it was to be settled by practical demonstration. We are loth to announce that the instinct of humankind was uppermost, and that the small child with deplorable depravity, had not only raised himself on tiptoe, but had put under himself a book, from which point of vantage, resting- one hand meantime upon the dog's back to steady himself, he announces triumphantly "I'se Biggest." It is one of the most charming things of recent date and is taken from a painting of Ellery's. The expression of doubt upon the dog's face, as if he suspected the little fraud, is quite as taking as the triumphant look of the child. The Zorn etchings are taking amazingly. The latest one shown by Thurber was The Cigarette Girl," that marvelous creation of a pretty face clouded in smoke.

It could hardly be said to have been on exhibition, however, as it was sold the day it was shown. Thayer' windows have been full of pretty things during the past week, among tbcm some water colors of 1 Me-Coomb's. O'Brien's, too, has been rich in variety, both outside and in. The fair "White City" still multiplies itself. One of the most beautiful sets of pictures seen during the past week was a collection done by the Cooper process of autotyping.

Local artists still sketch the dream palaces, while others are putting their sketches upon canvas. Among the latter Charles Curran, of New York, is doing much good work. He, it is said, has thirty different views of -the Court of Honor which he is treating in his own fashion. What that fashion is can best be imagined by those who ean recall some of his pictures seen at the exposition, among the most remarkable of which was "A Dream." It was a thing of bubbles in rainbow tints, A floating mist of prismatic colors in which beautiful women seemed to live and have their being. An intangible, 'incomprehensible thing; a drean indeed.

Watbrtowh. Nov. 20. Will you, in your next Sunday's an column of Tub Vittkr flrtAH kindlv vivn ml inn nl th frtllnarlnv tures that were in Fine Aits Building, and very much oblige. Ikqciber.

I. Frieas. for Boston Library, U. S. 148, "Sir Galahad Brought to Arthur's Court:" The story is familiar, but this scene Is not clear to me.

2. (France) bM. "Manon Leacaut." 2. (France) 571. "Myrtha;" story familiar, but were the ngures in the background Dante and Virgil? 4.

(Great Britain) 270. "How Lisa Loved the King." fc. 4X8, "Paolo snd Francisc." Society of Polish Artists. 6. 121.

"The Feudal Law." 7. (Italy; marble group No. ISA, -Pireat." Answer. 1. Probably the reason yon cannot recall the scene is thst von have only read Tennyson's version of it In his "Holy urali" he writes of the seating of Sir Galahad in "The Siege Perilous" as follows: "Then on a summer night it came to pass, While the great banque lay along the hall That Galahad would sit down in Merlin's chair.

And all at once as there we sat. we heard A cracking and a riving of the roofs And reading, and a blast, and overhead Thunder, and in the bunder was a cry. And In the blast there smote along the hall A beam of light aeve a times more clear than day; Ana down the long beam stole the Holy Grail All over covered with a luminous Cloud And none might see who bore it and it past." 2. The picture of "ManonLese ut" is painted from a scene in the story of that name. Manon was a French girl of great beauty, who fondly loved a young man of noble family, who gave up ail for her.

In spite of her love, however, she was many times untrue to him. After many adventures the girl was sent to America on a convict ship, her lover hearing of her fate I jw.u um i in Or leans, they lived together as man and wife antil one day they decided to marry really, and the chevalier petitioned the Governor for permission so to do, for in those days New Orleans was a French nravinee. fn the meantime the Governor's nephew had be come enamored of Manon. and finding her not a wife begged his uncle that he might be allowed to marry her himself. Of course the uncle desired to gratify him, and permission for the marriage of the former lovers was refused.

The result was a duel, in which Svmolet, the Governor's nephew, was seemingly killed. The lovers fled, and worn out, died in the midst of a sandy plain. Her lover dng her grave with his hands, and sank upon it, hoping there to find oblivion. He was rescued, however, and returned to his family. 8.

The two figures in the background of the picture "Ulyrrha" are, as you suppose, Dante and VirgiL 4. Lisa was a maiden of Palermo, the daughter of Bernardo.a rich Florentine, who lived some six hundred years ago. She saw on one great holiday her King.Pedro of Ara-gon, whom the people of Sicily welcomed as master because he had freed them from the yoke of France, and, seeing, loved him. not as maidens usually love, but worshiped him as a hero. And because she dared not tell the secret she "inward wailing passed her days At last, when she seemed dying, she thought if only the King might know, "if only she could reach by some soft pleading touch King Pedro's soul" that she would die the happier.

And so 6he begged that there might come to her Minuccio, the great singer, and when he came she told him all her secret, and entreated that he would bring it to the King, and so he did through song. When the King heard of the sweet child dying for him he said that at the vesper hours be wonld visit her, and Lisa hearing begged that on her should be put her ornaments of coral and white robe. The King sought Bernardo's garden and questioning him of his fair daughter asked that he might try his skill upon her, and so "with Lisa's father and two chosen friends went up to the chambers where she pillowed sits." After the interview Lisa grew well again, and the King, telling her Innocent secret to the Queen, sought how he might make her happy. A marriage was planned into which the girl entered gladly, the King meantime promising that always he would be her faithful knight, and 'tis said Throughout his life the King still took delight To call himself fair Lisa's faithful knight; And never wore in field or tournament A scarf or emblem save by Lisa sent. The story was first told by Boccaccio, afterward in poesy by George Eliot.

6. Paolo and Francesco is a love story of a different kind. Francesco was the wife of the brother of Paolo, and was left by her husband when he went to war in care of Paolo, the husband believing the young couple would love each other, which in time they came to do. But innocently enough nntil one night when thev were reading of Launcelot and Guinevere their eyes met, and, by misadventure, their lips. Unfortunately the husband returning saw them, and their first kiss wss their last.

He killed both. When Dante passed through purgatory with VirgU ho saw them. Because of their sin they were doomed always to flee before the wind, bnt because the sin was after all more in thought than deed it was permitted that they should be together. ft. "The feudal law" means the same law which once prevailed that when the I feudal lord visited the castle of any of his subjects all that was within it should be at his disposal, including even the eldest daughter of the house.

7. In the old gladiatorial contests the victor did not give the deathblow to bis fallen adversary nntil the signal of the turned thumbs was given him by the audience, led by the Emperor. In the marble group "Pereat" one woman, it will be remembered, has turned down thumbs, the meaning of which was in olden times "let him die." Mrs. O. P.

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