The Brooklyn Daily Eagle from Brooklyn, New York • Page 16

16 THE BROOKLYN DAILY EAGLE. NEW YORK, STJNDAY, OCTOBER 23, 1898. IN LOCAL STUDIOS. GALLEEY AHX STUDIO, In a central turmoil, skirted arid surrounded ent rage for improvement, great open spaces, AVE ROMA IMMORT ALTS." Mte and his rlver Vtervra, fend than these he has never done anything better. On 'Wedhesaay afternoon, i o'elok, Walter 8, Verrr, director el titt an department of Pratt Institute, will give the fourth ot bts leotures on Egyptian art 1b.

the Assembly and the result Is a book fully doilghtful as any novel this gifted nuaatar of flotlan has ever penned. Of no other city in tho wlao world would it bo passible for any one to writs as Mr. Crawford has wrltton In these volumes ot Rome, and we doubt If there Is any other writer now living who could write of her as he has written. We may not always acoept his philosophy, nor, for Instance, his explanation of tho Renaissance, all cf which Is but the expression of an Individual opinion, however interesting in Itself that may he, but every reader must acknowledge the skill with which he has brought boaro to mind and heart tho wonderful romance ot Hems, The back i3 delightful oa ovary page. Hall, This oeurse is to be tel.vvfe& by four evidence in the picture and the old houses leotures on Assyrian and GTeek art, by tour 6t tho period also, one of whrlch still stands, others on Roman and early Christian art, on Ftflton street A horse car creeps along and four each on the Romanesque, the Gothic i up that' now trollcy swcpt, street.

Thick and the Renaissance, Later in Che season foliage lines the Otroet. Will follow eight looWes on Italian, Fleen C. D. Hunt has finished a breezy water ish, German, Dutch, French, Spanish and color showing open waters of a sea, painting. The lectures are all il looking off at tho breakers frctn Uhe beach.

An lustrated, effec" 'r motion and coolness is given, with c.ear green i the light, and deep color Jn D. J. Gue of th'ls borough has returned the snadows of the waves, which produces from a five months' tour in Europe, during realistic Ui of marine work. This is the which he painted thirty picture He has lnc taken a temporary studio In Manhattan, Miss Anna Halsey has returned to Brook where he Is putting on a few finishing couches lyn after summering at Xoauk, Mystic IalaiK to the canvases. Hta subjects comprise his toric castles, perched on rocks, churohes, villas on the shores of lakes, tall hills with their tops merging into the shadows and mists of coming storms, and tho canals and gardens of Venice.

When he reached the latter city he bo wearied of the pictures, drawings, photographs, chrccnos and other pictures, that had the Grand Canal and adjoining structures for the'ir subject, that he avoided the places they represented almost entirely and sought for themes In by pathrs, if one may so name them, ot this floating town. He painted few palaces, but represented more often the gardens and groups of boats anchored beneath thecn. One picture representing a row of buildings beyond the canal has an especially effective treatment of still water reflecting the clouds that lie in large white masses overhead. Among the Italian subjects are views oi Lake Como, a spot that is not quite living up to Its fame, since the tree murderers have taken possession and are devastating the hillsides, drying up the springs, driving out the birds and playing hob with the scenery, just as they are in America. cbI of the pictures are to he sent to Western cities.

The editor of the International Studio is always discovering new artists. In the October number he fin'fls Albert Baertsoen. This young Belgian is a facile etcher and drafts man With an easy, broad fashion of handling his brush and needle, whose specialty appears to he the pailntlng of sleepy and half deserted old towns in FJanders and Holland. He likes the quaint, the quiet, the reposeful, the ruined, and all of his work has sentiment. In contrast with his work is the lithograph by Byam Shaw, a slashing picture of a knight, accompanied by Time and Death.

The mortuary, designed by Mrs. G. F. Watts, with its much Celtic ornament, is extensively illustrated. It ie interesting, hut one wonders If there Is any ultimate advantage in such a creation over the simple and soon crumbled gravestones.

More usa'ble and eontinua'ole are the colored reliefs by Mofira and Jenkins, made for a library, and exemplifying literary eu'bjects. There are some beautiful photographs taken oy the Japanese and a tinted block after a nude statue, rough in its execution, like most of his work, by Rodin. Some cast Iron fire places hy C. R. Ashbee offer suggestions to house makers.

A series of penciil sketches made at St. Ives by R. Morton Nance will be found delightful for freedom and indication of air and texture. The decorative designs suibmitted in the Kensington competition show a surprising fertility of invention and cleverness cf handling on the part of numerous students. The old fashion of allowing an author but one appearance in a month in a magazine is frequently violated in these days, and Frederic Rem'ington has two papers in the new Harper's, both of which are illustrated by himself.

One is an Indian story and the other describes experiences in Cuba. As usual, his pictures have a reckless jump and tir about them, and without dragging in details give one the spirit of the scene they epresent. Smedley, whose pencil has a smoother point, as another of the Illustrators, and so is Mr. McVickar, who was promising a while ago, but has become wooden and conventional. Howard Pyle's admirably broad and simple treatment of the figure is seen in a group in a conserva'cory.

There are some silver print sort of drawings by Myrbach in a story, some photographs of Santa Cata lina Island and adjacent rocks, some more of Caton Woodville's descriptive things about the British army and 'its pertsistence in fuss and feathers, and some spirited drawiners of torpedo boat service by H. Reuterdahl. C. M. S.

MAKING FTJBNITUBE OVER. It Is Not So Cheap as Buying Hew or Cash. Take a seat on the sofa," said tho head of the house to the evening caller, "and make yourself as comfortable as you can." 'Thanks, guess I will. This appears to be a pretty "comfortable sort of nlace to str down," replied the caller, seating himself. "By the way, what does such a couch as that cost? My wife has been hounding me to buy a couch for the last year or more, and if I can strike something like this at a reasonable figure I might as well buy it and end the agony." "I should have to consult the hooks in the vault at the office to answer that question in telligently," replied the head of the house.

"You see, that couch has a history. We bought that couch when we first went to housekeeping, eleven years ago. We bought it at a time payment house, and in rhe Mitr of eighteen months succeeded in paying $35 lkji iu. uuu ueiuie we naa it pala for on the installment plan it was worn out in tho springs, but we struggled along with it itatil it was entirely paid for. and then spnt i.

a shop to have new springs inserted in its an atomy. It came back to us verv much im. i studded with huge ruins, or marked hre and there by a great basilica churcn. Because it was the first, it came about in time that the captain of the district, regularly elected by the people, was regarded as tho captain in chief of all the other districts whenever It became necessary for them to act together. Within its borders also Is located the great basilica of Saint John Lateran.

which bore the name of "Mother and Head of All Churches of the City and of the World." It has been overthrown by an earthquake and again erected, twice burned and immediately rebuilt, and five times has been, tho meeting place of tho councils of the church. In modern days it has been enlarged at enormous cost. The name "Lateran" is derived from an ancient family of rich but obscure citi tens. Originally the church was founded by Constantlne, stood in the palace of the Lateran family. It was known by different names through six centuries and was finally dedicated to St.

John the Baptist. Close by the Lateran palace was the palace ot the Au nii. where Marcus Aurelius was born, last of the so called Antoines, and last of the great emperors, whose bronze statue now stands iu the square of the Capitol. Many of the scenes which have been enacted within the boundaries of Monti hold a terrible place in Roman historv. The Forum lies within its limits and in early days was often the battle ground of the factions.

Some of these encounters were of regular occurrence, taking place reappointment on feast days. They were in some sort a continuance of the contests of the amphitheater, and it is pointed out that this habit of fighting for its own sake with dangerous weapons made the Roman rabble terrible when the fray turned to earnest; the deadly hail of stones well aimed by hand or sling was familiar to every Roman from his childhood, and there was nothing terrifying in the sight of cold steel at arm's length, in the davs when men had little but life to lose and set small value upon that. It can be understood what a terrible foe a mob, composed of such elements, would be when their passions were thoroughly aroused. Indeed, the Roman mob has left a name In history that is a synonym for popular violence. Touching upon the facility with whica the Roman peopie have always turned to violence, our author says: "Some one has called democracy Rome 'original It would he more just and true to say that most of Rome's misfortunes, and Italy's, too, have been the result of the instinct to oppose all that is, whether good or bad as soon as it has existed for a while; in short; the original sin of Italians is an original detestation of that unity of which the empty name has been a fetish for ages.

Rome, thrown back upon herself in the dark times, when she was shorn of her possessions, was a true picture of what Italy was before Rome's iron hand had bound the Italian peoples together by force, of what she became again as soon as that force was relaxed, of what she has grown to be once more, now that the delight of revolution has disappeared in the dismal swamp of financial disappointment, of what she will be to all time, because from all time she has been populated by races of different descent, who hated each other as only neighbors can." And, again, after describing one of the fierce and blcddy revolutions of 'the medieval city, where a pope was driven out by the Roman populace and was restored by the interference of ouaside powers: "It seems far away. Yet we who have seen the Roman people riise, overlaid with burdens and maddened with the news of a horri'hle defeat, can guess at what it must have been. Those who saw the sea of murderous pale faces, and heard the deep cry, 'Death to go howling and echoing through the city can guess what tnat must nave Deen a thousand years ago, and many anotner nigat since then, when the Romans were roused and there was a smell of blood 'in the air." One of the famous churches of the city, which 'bears a name hoary with age, which stands within the limits of Monti, is the Church of Santa Maggiore "the Greater St. Mary's." In medieval times it was the cathedral of the popes, who lived near it, and even within the present century papal bulls have been dated from panta Maria Maggiore. In a church that 'stood upon the site' of the present edifice, away back in the year 366, as our author says, "a great and terrible name stands out for the first time in history." This was when Or sino, a deacon of the church, roused a party of the people, declared the election of Da masus, the reigainig pope, invalid, proclaimed himself pope instead, and officiated as pontiff in the Basilica of Sicininus.

A roaring crowd ot the followers of amaeus came up from the city, assailed the barricaded doors of the church, burst "them open, slew Orsino and 136 of his followers within the church and gave the building to the flames. No one knows whether the daring deacon was of the great race, the Oraini family, that in after centuries made and unmade popes, held half Italy with its fortresses, giving its daughters in marriage with kings and wedding to Its sons. But Orsini he was called, and he had in him "much of the lawless strength of those namesakes of his who out fought all other Barons but the Colonna. for centuries, and romance may well make him one of them." The pages devoted to the Region hearing the name of Colonna and which cakes its title from the huge column which stands in the Piazza Colonna and which was erected by Emperor Marcus Aurelius to commemorate his victory over the Jlarcomanni, gives opportunity for the tei'ling of many quaint and curious things a'bout the Roman carnival, which has the Corso for the center of its mad festivities the Corso, running through the Region. The name does not seem to have been derived from the great Roman family of the same name, whose coat of arms bears a column surmounted by a crown, but the similarity affords an opening for a description of some of the great noble families which have played so conspicuous a part in Roman history, their palaces and something of the state in which they lived in the castles and fortresses which they builded, not only in iwiub, uui an over with reference to the enormous size of some of these structures the author attributes it to the passion of the Latins for bigness, an inherited giantism, he calls it.

which leads them, even at this day, to pile up huge structures just for the mere sake of bigness. It is pointed out that at first sight the life of the Italians of the middle ages seems simple enough, but when one has read the old chroniclers that have survived it will amaze the reader to see how much it told about people and their actions and how little about the way in which they lived. It is easier to learn the habits of the Greeks or the Egyptians or the ancient Romans or the than to get at the daily life of an Italian family in tne eleventh and twelfth centuries from such books as are now in existence One reason given is the scarcity of literature at that period, save historical chronicles, until the time of Boccaccio. Another reason is that the age of the Renaissance was reached sweeeping away all the barbarous things that had gone before it. One must have seen the nuge.

old castles, the gloomy monasteries, the feudal villages of Calabria and Sicily, and one should understand something of the nature of the Italian people where original characteristics have survived to be able to recreate in imagination, even, the life of medieval Italy. Space does not permit the following of me cnronic.es of all the regions; it is enough to say that in every chapter there are round many narratives of the strange things which have made the history of the city so wonderful a compound of mystery and tragedy. It is marvellous now mucn ot violence the story contains, i ne story or itome, says the author at the oonc.usicn ot one cnapter, "is a tile of murder and sudden death, varied, changing never repeated in the same way; there i oiooci on every tnresnohl: a traired iiu buried in every church and chapei; and again we ask in vain wherein iies the magic of the city that has fed on terror and grows old in carnage, the charm that draws men to her, the power that holds, the magic that enthralls men soul and body, as Lady Venus cast her spells upon Tannhauser in her mountain of old. Yet none deny it, and as centuries roil on, the poets, the musicians, the artiste of all ages, have come to her rro.m far countries and have dwelt here while they might some for long years, soma for the few months they could spare; and all of them have left something a a line, a sketch, a song that breathes tho threefold mystery of love, eternity and death." And elsewhere: "For a man can no more say a last farewell to Rome than he can take leave of eternity. The years move on, but she waits; the cities fail, but.

she stands; the old races of men lie dead in the track wheTein mankind wanders always between two darknesses; yet Rome lives, and her changes are not from life to death, as ours are, but from one life to another." Mr. Crawford seems almost assionato in his devotion to the Eternal City and evidences to the full its wonderful charm, but even If one should think his expressions extravagant it wili be borne in mind that not for a. long time have wo enjoyed the pleasure of so brilliant a picture of Roman life and Roman history. His method is that of the novelist applied to the matter of history, by the relative peace of an ancient and long undisturbed barbarism. "It was out of these elements thai he created what has become modern Europe, and the direction which he gavo to the evolution mankind has never wholly changed since his day.

Of all great conquerors he was tho least cruel, for he never sacrificed human llfo without the direct intention of benofttiug mankind by an increased stability. Of all great lawgivers he was the mosit wise and Just, and the truths he set down in the Julian code are the foundation of modern justice. (Jf all great men who have leaped upon the world as upon an unbroken horse, who have guided la with relentless hands and ridden it breathless to the goal of glory, Caesar the only one who turned the race into the track of civilization aud dying, left mankind future in the memory of his past. He is tho one great man of all. without whom it is impossible to imagine history.

We cannot take him away and yet leave anything of whait wo have. The world could have been as it is without Alexander, without Charlemagne, without Napoleon; it could not have been the world we know without Caius Julius Cae6ar. "That fact alone places him at the head of Eloquent, yes; extravagant, perhaps. But who shall say thait the estimate thus expressed is not Certainly, in all Rome's centuries, and amid all her throngs of great men statesmen, lawgivers, generals, who crowd the mighty stage of her history there is no one man who towers head and shoulders above them all as does Caius Julius Caesar. So brilliant, so expressive and fascinating are our author's rapid glances at the grand panorama of Roman history, that one could wish that he had continued in the same strain the end, but the scheme of his work calls for other treaunent different in kind though not in quality.

He takes up the story of the fourteen sections into which the ancient city was divided a partition which goes hack to the time of Augustus, and which endures to this day, and in that way brings us in contact with the life of the people through all their multifarious chauges. It affords opportunity for descriptive touches of the great ruins of famous basilicas and ancient fanitilies and their palaces, for much crisp philosophizing concerning the many sided life of the people, the influences that controlled them, and which have determined their development. These fourteen ancient wards derive their MAP ION CRAWFORD. names from different sources, while their boundaries are substantially the same to day that thev were in the clays of Augustus. Mr.

Crawford devotes a third of the first volume to the consideration of Rome in its larger as pects, and men passes to tne story ot rae sections "Rioni," or "Regions," they are called. Thoir permanence is one of the illustrations of that continuing spirit which is one of the mysteries of Roman history. To day, in out of the way places about the oity, overlooked in the modern rage for improvement, little marble tablets will be found leit into the walls of old houses on the corners of old streets and bearing samii heraldic devices, such as a crescent, a column, a griffin, a stag, wheel and the like. The stranger, coming upon these small, marble tablets naturally supposes them to be the coats of arms of ancient families who have owned the houses upon which they are placed. In reality, they are the devices of the old wards, and were placed in position by one of the popes of the last century to mark their boundaries.

These geographical and political divisions have always played an important pant in the history of the city. Their names, given in the numerical order which has always accompanied them are as follows: Monti, Trevi, Colonna, Campo Marzo, Ponte, Parione, Regola, Sant Eustachio, Pigna, Campitelli, Sant' Angelo, Ripa, Trastevere, Borgo. Several of the names indicate in a general way the part of the city where the ward is located, as, for instance, Ponte, the bridge, is the region about the bridge of Sant" Angelo. The region of Sant' Angelo has nothing to do with the castle or the bridge, but takes its name from the little Church of Sant' Angelo in the Fishmarket. Speaking of the part which these more or less arbitrary divisions have played in the history of the city, Mr.

Crawford says: "There is no modern city in the world that is not thus managed by wards and districts and the consideration of such management and of its means might appear to be a very flat and unprofitable study, tire some alike to the reader and to the writer. And so it would be, if it were not true that the Fourteen Regions of Rome were fourteen elements of romance, each playing its part in due season, while all were frequently the stage at once, under the collective name of the people in their ever latent opposition and in their occasional violent outbreaks against the nobles and the popes, who alternately oppressed and spoiled them for public and private ends. In other words, the regions, with their elected captains under one chief captain were the survival of the Roman people, for ever at odds with the Roman Senate. In times when there was no government, in any reasonable sense of the word, the people tried to govern themselves, or at least to protect themselves as best they could by a rough system, which was all that remained of the rough municipality of the empire. Without the regions the struggles of the barons would probably have destroyed Rome altogether; nine of the twenty four popes who reigned In the tenth century would not have been murdered or otherwise done to death; Peter the Perfect would not have dragged Pope John the Thirteenth a prisoner through the streets; Stefaneschi could never have terrorized the barons, and half destroyed their castles in a week; Rierzi could not have made himself dictator; Ltulovieo Miglioraii could not have murdered the eleven captains of Regions in his house and thrown their bodies to the people from the windows, for which Giovanni Colonna drove out the Pope and the cardinals and sacked the Vatican; in a word, the strangest, wildest, bloodiest scenes of mediaeval Rome could not have found a place in history.

It is no wonder that to men born and bred in the city the Regions seem even now to be an integral factor in its existence. Ampere, the French historian of Rome, cynically suggested to a young student that he might get a superficial knowledge of the city by a ce years' residence, but that twenty would be necessary in order to know anything about it worthy to be written. Not everybody, our author remarks, has time or inclination to acquire a "superficial knowledge" by ten years' visit, and if one has a general knowledge of the history of the city and its chief points of interest, the simplest and most direct way or learning more about it is to take the Regions in their ancient order and so far as possible, "make past deeds live again where they were doue, with such description of the places themselves as may serve the male purpose best. To follow any other plan would be either to tittcnipt a new history of Rome, or to piece together a new archeological manual. In either case, even supposing that one could be successful where so much has already been done by the most learned, the end aimed at would be defeated, for romance would be stiffened to a record and beauty would be dissected to an anatomical preparation." The closing lines of the quotation indicate better than a whole column of description the spirit which animates the author of the work under consideration.

It is tho romance of the wonderful pageant which men rail the history of Rome that he seeks to bring before the reader. In the old clays the devices of the regions were borne on their banners, which were carried on all public occasions before the peoples of the several wards, when they ware summoned from their homes by any affair of state, cr contest of faction. Faction 'fights were of frequent occurrence between the neo pie of the Regions and in these contests stono throwing, either with or without slings, was one of tho principal weapons of offense. These combats were bloody, as all battle of faction are likely to be, and they form no small part In Rome's municipal history. Monti, the name signifying "the hills, is the first of the Regions numerically, and by far the larg area, but in later times tho least lickly populated, presenting before the pres Two Email canvases on exhibition ot Bod ford avenue and Pulton stress s'hoW that part Brooklyn In 1750 and 1S70, respectively.

The old "Kloott Road," now closed, is in ol uer w.jier colors were disposed Dotore reaching her Clinton Btrnsir but a study of some apple trees Is on he walls and shows a line of them growing it full summer leafage, out in a field, where the rich grass is full of sunny varieties oZ tones. The next meeting of the Brooklyn Sooieiy of Painters will take place the first Saturday afternoon of next month, at roe residence of Miss Johnson, 193 St. James place. The subject will be "Exhibition the annual showing of the society being set down for December (J, 7 and 8, at the Pouch Mansion. Miss Shirley Turner has returned from Ipswiich, where she ias been painting and sketching and has again taken up her work as art director at Berkeley Insti aite.

At Ipswich she was In the midst of an artist colony', Arthur W. Dow and others belonging to it. Miss Turner is also in charge of the art department at Hashrouek Institute. A. B.

Henshaw has among his oil sketches made this year one of a piece of level country with a foreground, of meadow and pool of water. Character Is given the composition by the presence of two large trees on the right. In the distance others show, and the different tones of brown, yellow and olive in the herbage are simply rendered. Another sketch of Mr. Henshaw's presents the path of a creek amid an almost treeless stretch of ground.

W. J. Pich has been in the Catskili region sketching and has made several water colors. One shows a bit of sea and a road running past fresh green fields where boulders crop out. Others show old Tartu buildings and fences around meadows painted in the yellow greens of early summer.

Mr. Pich is a Cen tral Sketch Club member. Mrs. M. E.

Tuttlc has returned from Rutland, where she has been summering, and is now located on Ormond place, near Jefferson avenue. Mrs. Tuttle has worked some in aquarelle during her stay, but done littie in mineral colors. A scene on Lake Bomoseeu and other bits of charcteristic Ver mont scenery are to be found among her sketches. A fruit piece by the late William Brown, the artist, who resided on Dean street and died there this summer, is on exhibition a.t Pigot's.

It presents a cut watermelon, its pink 'pulp making a plesaimnt color contract with sctne bluish grapes and pale green ones. A napkin is simulated well in paint, its fringe "being a thorough study in detail. Mr. Alfred Diller has made a set of illustrations for the song of Angela Diller. The "Lullaby" hai a picture of a child, carrying a candle, and going oil to bed in a white night rc be.

"The Dreaming Water Lily" shows grjup of flowers treated in a kin of Jopanese and artistic way. The head pieces and title 'page are equally strong and effective. Clinton Loveridge has painted something of more extended type than usual, the view showing a mountainous part of country, with tall old trees and eiiffs fenming a kind of recess, through which the observer looks off toward a distant range of mountains. Cattle are in this recess. Mr.

Loveridge has painted for the most part cows in level, open country, with enough foliage to give it variety. Susie Barstow Skelding has been at Intervale, N. this autumn; she and her aunt, Miss Bans tow, are sketching there, having a desire to get a good view ct Mount wasu ington, covered with snow, and make a study of it. Miss Skeldfng is a member of the Brooklyn Art Club. She had her studio on Carlton avenue, when here, but spent 'last winter in Manhattan, painting.

Miss Thallon, sister of the Brooklyn composer, and an artiiit who paints in landscape principally, has taken up ner residence lor the present at Sebago, Me. She has built a tstu dio looking out upon the mountains and lake, and makes many sketehe and pictures of the scenery surrounding it. One late ly Rpnr i Ttmnklvn nrnsenrs. in nnuarelle. a wood scene near Douglass Farms.

The first exhibition at the Pratt Gallery will he one of sketches made by Mr. La Farge, stated not to have been exhibited before, and of much interest an strength. This artist has journeyed aibout the world considerably, and has sketches of many historic and picturesciue localities. Mary Wood Whittaker has made somewhat' of a new departure in taking up portraiture with 'men for sitters. Hitherto, mcst of her portraits have 'been of young women, these fresh and youthful types being brought out with much success.

The portrait of an elderly resident of the Hill, which Mrs. Whittaker has been doing, is strong and realistic. Miss Julia Raymond has brought home a number of sketches fr.en her summer outing, one showing a barn interior, with warm 'brown lights iu it, and fowi pecking at the corn and oat on the floor. Miss Raymond has dene some pen and ink studies far reproduction in a pericdical, and ether black and white and color work under Professor Whittaker. Miss Mary Aliis HurVbut was in Litchfield, this summer, and found it the most paintable locality she has yet visited.

The rolling country afforded fine opportunities for picturesque sketches. Miss Hurlbut's work will be shown later, in all probability. She is now back again at her post at Pratt, where she is an instructor in drawing, sketching and color. Marie Shields has been at Piermniu this month sketching and painting. A rainy clay effect in aquarelle, which she painted, shows a sketch of water with blurred reflections on 1 its surface, and a com Diuisn gieam on ils more distant expanse.

The sky is pale and, i has an undoubted atmospheric quality. The foliage is dull in tone and looks water soaked. George Willis Harclweu is rorming a ciass in designing which shall give practical ideas in and magazine illustrations. Mr. Ranlwell has been engaged in this kind ot scenery painted by herself, an original play given in miniature at Pratt.

Miss S. Barstow is at Intervale. N. H. After leaving Brooklyn last spring, she went to Sebago, and painted some pictures, combining May's early coloring with the contrasts of mountain background and still showing their patches of snow.

In June, Miss Barstow went to Camden, living for a time high up among the clouds on a mountain) top. Walter H. Perry's second lecture in nis present course was delivered on Wednesday, illustrated as usual. The' subject was Egypt. "The Vallev of the Nile.

Life of the Peo pie. Climate, Material, Religion and Symbolism; Their Influence Upon the Development of An," were the points illustrated. Th next lecture will be upon Egyptian sculpture, painting and ornament. Miss Katherine E. Shattuck, one of the principal instructors on the art staff at the Pratt, has been seriously ill, so that she was not able to be present at the beginning of the fall work, nor for some time afterward.

Miss Shattuck has been at Pepperell, this summer and sketched to some extent beforo her illness. J. Frank Waldo has finished a good sized canvas showing a view among the Orange hills. Two cows are wading in the stream: their warm brown coior contrasting well wltn i the foliage. An old farm house is a part of the composition, and the Orange hills make an effective background.

The picture is painted in oils and is at Woehr's. Mr. Wal do has also some smaller canvases to show for his season out of doors. Mrs. G.

Douglass Stearns has returned from Ai'kville in the Catskills, where she worked a little in water color. The views of tho river and lake and foliage wore excellent In handling and color. Mrs. Stearns found a busy colony at work painting the Eatons, J. Francis Murphy, Mrs.

A. H. Wyant, wife ot the deceased artist, and others well known iu 1 the best art circles. BP. MARION CBAWFOUD 1ST AN" UN USTJAli BOLE.

BThe Novelist's New Book on the Bo laance of aomau History The Charm of the Eternal City Another Translation of "Cyrano de Bergerac." The reading world has been accustomed to regard Francis Marion Crawford as a brilliant American novelist, who, through the accident of prolonged residence in Italy, has teen led to find the plots and setting for most of his tales in modern Italian life. His boyhood and a large portion of his mature years have found him a resident of Rome and. while his enthusiasm for whatever pertains to the Eternal City is apparent to all who read his novels with attention, he hois never been considered in the light of a historian. From time to time articles descriptive of certain strikiug features in Roman life have appeared over his signature in one or two of the leading magazines and they have been of a quality which has led readers to wish that Mr. Crawford could find time for more extended writing In that vein.

This wish at last has been gratified and we have before us a oew work, in which he has given full swing to that passion for the romance of Roman history which must or necessity possess everyone who has lived In its atmosphere. "Ave Roma Immortalis" js the title which Mr. Crawford gives to his now work, which comes to us in two volumes from the Macmillan Company. The publishers have given the work the outward dross which its literary importance deserves, sad the two volumes are handsome specimens of book making. They are Illustrated sparingly with photogravures and with lighten drawings in the text.

The frontispiece is a map of the city. Something over three hundred pages are found in each volume and there Is a copious and satisfactory index, not compressed into the closing pages of the second olume. as we too often see, but divided between the two. each having its own index within its covers. The printing is well Epaced, the lines open and the page a pleasure to the eye.

So much for the outward seeming of the book. It must not be supposed that Mr. Crawford has made the mistake of attempting to write either a compendium of Roman history, or a guide book to the antiquities cf Rome. When a novelist attempts history he is quite likely to make a mess of it, but when a romanticist of Mr. Crawford's literary attainments aud brilliant imagination undertakes to outline the story of Rome, from ihe standpoint of the picturesque, he is pretty sure to bring before us something that is worth reading.

It is so in this case. The Bpirit with which the author has undertaken i this work is best illustrated by the opening sentence: "The story of Rome is the most splendid romance in all history." It is that romance which he attempts to bricg before the reader not all of it that were a task too great for any man, but he does show some of the lights and shadows which stretch out so interminably before the imagination of the reader, from this modern time back to that remote twilight when the shepherds, coming down from their retreats among the volcanic hills to those grassy kcolls beside the river flowing to the sea, sec up their huts on the elevation afterward known as Palatine Hill. From that day, which tradition assigns to April 21, and which is etill observed in Rome, down to the birth of Christ, was T3 4 years. It would have been a foolish thing to attempt the rewriting of the pages of history which tell of the men and events that go to make up Roman history, but the story the romance the iight and shade which make up the picture they can be described, and certainly no cne is better fitted fcr the task thun the novelist who has found so much inspiration and significance in that history. It has been said again and again that Rome possesses a fascination for everyone who dwells for any time within her walls a fascination which no one can describe, but which dees not come from her ruins, nor trcm the monuments of art which she possesses in such abundance, nor from the Pact that she is the visible representative of a faith, hoary with the lapse of centuries.

All these things help, but they do not explain the secret of that hold upon the heart which seems as strong for the foreigner as for the native. Out of it, perhaps, has grown that fanciful superstition which attaches to the fountain of Trevi, to that whoever will go to the fountain when the full moon is playing on its waters, and drink, and tcss a coin far out into the middle cf the basin, as an offering to the genius of the pkee, will surely come back to Rome again, old or young, some time or other, no matter how far he or she nvay wander. It is quite the fashion to perform the rite, laughingly, perhaps, but who shai! say with what secret hope that the charm may hold gcod after ail. It is this indefinable charm which Rome exercises over all who conic within the circle of her magic influence that has prompted Mr. Crawrord to write this book and to attempt in some degree to account for the witchery He would not have been moved to this task unless he were an enthusiast upon the subject and had felt to the heart's core the fascination which he undertakes to describe.

No student of history, of art, or of archaeology, no matter how deeply he might he interested in the subject, could have written such a book, for here all three subjects are treated from the standpoint of pure literature, and nut in any scientific aspect. The author gives a vigorous pen picture of the striking characteristics of the life of tho Eternal City in successive eras very much 6uch a bird's eye view of men and events as a painter would give, were it possible present in a succession of canvases a panorama of the centuries. His view poitu is essentially that of the artist, aud all who have read Mr. Crawford's novels know ho.w masterly is his touch. His method of treating his subject in this instance is as different from that of the historian or the descriptive writer as his literary style is individual and characteristic.

He begins with the beginning, outlining legend and history of the earliest periods, from the time of that first settlement on the' Palatine Hill down through kingdom and republic, empire and decadent age, through the chans and darkness of the medieval period to tho time of the renaissance and the modern era. The age of Caesar holds attention for a time. for Mr. Crawford regards as the great i est man that ever lived in the history of the world. He voices his estimate of hini in this tas'hion: "The greatest figure in ail history springs out of the dim chaos and shines in undying i glory, me ngure or a man so givat that the office he held means Empire, and the mere name he bore means emperor to day in four empires Caesar.

Kaiser. Czar, Kaisar a man of so vast a power that the history of humanity for centuries after him was the history of those who were chosen to fill his piace, the history of nearly half of the twelve centuries foretold by the augur Attus, from Romulus, first king, to Romulus Augustuius, last emperor. He was a man whose deeds and laws have marked out the life of the worid even to this far daj. IVtYcu him and with him comes Pompey, with him and after him Hark Antony, next him in line and greatness, Augustus all dwarfs compared with him. While two of them wore failures outright, and the third could have reached power out in nis steps.

"In that long tempest of partie wherein I the republic went down forever, js hard to trace the truth or number the slain. or reckon i up account of gain and loss. nat when Caesar rises in tho center of orm 'the 1 end is sure and can he no other, for ho! drives it before him like a captive to do his bidding and clear the earth fur his his coming, utner men. and great men are overwhelmed by it. dashed down and tunned out ot tut sense and judgment, to be lost and icrgotten like leaves in autumn, whirled away before the gale.

Ureation presupposes cnaos, and it is HI' divine prerogative of genius to evolve on rrom contusion. Julius Caesar found world of his day consisting of disordered meats of strength, all at strife with each other I of is a to a I I LATAHOU'S STUDIES AND SKETCHES AT PRATT INSTITUTE. Their Charm of Color The Painter's Vie A Battle Ploturo by JYederle Remington Xectuxes on Art by Mr. Perry Italian Subjects by D. J.

Que, In the library building of tho Pratt Institute everybody can see a oollectlon of .200 pen and pencil drawings, 50 sketches in color for etalned glass windows, and 76 water color studies all by John Lafarge. The exhibition Is to be open daily, except Sunday, from 9 A. SI. to 6, and at night from 7:20 to 8:80, until the 5th oi November. To thoso who are in the halit of visiting the principal exhibitions of tho season the matter contained In this group will not be absolutely new, nor are any of the pictures large or what might be called important; yet Mr.

Lafarge Is always interesting and instructive, and in these studies he is better than that; he suggests and stimulates, and it is well for the students to look at his work aad take courage by it. Ia the first place, he is himself, and no man attains consequence who does not let himself out. He is a man of training, but of no school. In fact his equipment qualifies him to make schools, rather than follow them. His color schemes are quite his own and hie courage in using the good old primaries is unsurpassed.

When a strip of sea is emerald green, he translates it on paper in exactly that. When a mountain in the distance on a day of sharp sunlight and clear air 1b cobalt blue, he paints it in that medium. When the sky seen through vapor in a purple, he does not think it ought to 'be 'blue or rose or tawny, but makes it purple. And when traveling over the Union Pacific Railroad he reaches Green River, im the heart of the desert, and looks up at the buttes, taking the last rayB of the sun which intensify their own reds and yellows, he has no hesitation in slashing vermilion upon his paper. Thomas Moran has often painted those buttes in sunset after storm, and people would not believe him.

They said he was making Turners out of American scenery. His manner does resem ble that of Turner, certainly, but so far as ocal color is concerned any man is a darimg artist who paints up to the possibilities of it in the West. Mr. Lafarge does not have to go into regions that are distinguished for local color, however, in order to find a field for his highly developed color sense. Accidents or permanences, he finds fresh blues, brilliant greens, pure yellows, vital reds and vibrant orange everywhere.

It is the way of seeing, more than the thing seen, that counts. There no mud in Mr. Lafarge's work. He has not been affected by the tired school that cannot endure the light of the primaries, but must qualify everything down to gray and brown, and while he is no niggler in his painting he leaves nobody in doubt as to the purpose of his picture. He is not so impressionistic that his drawings get themselves hung bottom side up by mistake.

When he puts a mountain on a mountain it is; not a house. Tech nically one may sometimes find faults no less than reasons for admiration. In the figure, although he can he as true and delicate as a Frenchman in his pencil work, he is sometimes, hasty in color, and there are South Sea people in his water colors who are not steady on their, legs. In the picture cf Mount Tohivea the sky has been slightly spotted, as by a fixatif. Once in a while the opacity of body color is apparent.

But these are trifles, which, in a collection that te not made up of finished work, are expected. The simplicity of the pictures will be admired. The artist never attempts too much. His sketches in black and white are delightful in that respect, and in the painted landscape no more detail is permitted to come into the work than is sufficient to explain it or exemplify its local character. In composition there is a happy avoidance of the conventional, the trite.

The point of view is a personal one, no less than the technic. Yet, the decorative sense is highly developed In Mr. Lafarge, and his schemes for windows and mural paintings are not bettered anywhere in dignity and fitness. His especial charm is color purity. His work is tonic in that respect.

There Is no attempt to reproduce old master qualities. The color Is floral, rather than florid. It is aqueous. transparent. Best of all, the work is serious, even in the scribblings that are the first plans for a picture.

There is none of the flippancy of the "young fellows" who make their pot" boilers do service for exhibition canvases and who fall into mannerisms of the schools with lamentable facility, observing in their art a passing fashion as dependency as a woman has to observe it in her bonnets. The painter's attitude is interesting as he sets it forth in his "Artist's Letters Prom Japan." "I have far within me," he says, "a belief that art is the love of certain balanced proportions and relations which the mind likes to discover and to bring out in what it deals with, be it thought, or the actions of men, or the influences of nature, or the material things in which necessity makes it to work. I should then expand this idea until it stretched from the patterns of earliest pottery to the harmony of the lines of Homer. Then I should say that in our plastic arts the relations of lines and spaces are, In my belief, the first and earliest desires. And, again, I should have to say that, in my unexpressed faith.

these needs are as needs of the soul, and echoes of the laws of the universe, seen and unseen, reflections of the universal mathematics, cadences of the ancient music of the spheres. Beside the show of etchings and lithographs by Whistler in the Wunderlich gallery there Is a picture in oils by Fred Remington that attracts much attention. It is the charge of the Rough Riders up San Juan Hill, with Colonel Roosevelt riding a horse in advance and flourishing a revolver. The modern battle formation does not lend Itself so well to pictorial or sensational effect as the older fashion of close ranks. The men are charg ing in loose order.

There is no display of uniforms. These men rather resemble coal passers on a steamer than soldiers. There is no strut or hurrah. They are bent on business. Those who are shot do not adjust themselves in fantastic attitudes as they fall but go down simply and easily.

One bomb is exploding overhead and making a moon of smoke, but except for this the scene is lacking in the usual indications of battle. There are no flying fragments of Iron under iool, Liiei is uui outs uorse in Slgnt; no bayonets and swords glitter in the sun, and there is no smoke, except of the shell. Two dead Spaniards lie on the bright green sward just aneaci ot tne advancing mass. The day is clear and sunny, the woods" and hillsides nothing new. Tho later work, consisting of battle is to be painted in the future, now that fighting is done at long range, with smokeless powder.

Mr. Remington has been at tho front and has been painting only what he saw. The Whistler exhibit in this gallery attracts attention, though it contains nothing new. The later work, consisting of lithographs, is the slightest that has ever came from the studio of the redoubtable ex pert in the art of making enemies, yet it contains happy little suggestions, and the occasional application of tint is delicate. In the hint of largeness Mr.

Whistler is success ful. His drawing, especially in the figure, is unsound. Some of his legs belong to pianos rather than to people. Yet there Is a person ality in his subjects that Is not always caught by painters who are technically more clever than he. He pleases best in his architectural "Cyrano de Bergerac." The English translation Ed mend Rostand's famous play, made by Gertrude Hall and issued in a dainty little vol'ume by Doubleda McCiurc, is timely so far as Brooklyn is concerned.

We are to have our first sight of the play on the stage this week at the hands of Mr. aly and his company, and it is so strong, so full of poetic freshness and fire, that familiarity with the text is an excellent preparation for" witnessing the stage performance. Certainly the text reads gratefully after witnessing the play upon the stage. That is not true of most modern dramas, of which one performance is quite enough and one reading quite too much. But Mr.

Rostand is a poet as well as a dramatist, and many of his lines which one is glad do remembeir escape the tar after a single hearing. The charm of the book, however, lies not in detached lines or single scenes, clever as meat of these scenes are from the stage point of view. It is that the dramatist has added a new, a vital and a fascinating character to literature. Cyrano is Gascon and is in some respects antipathetic to the Anglo Saxon ideal, but his essential nobility saves him and reconciles one to his which is merely the native mask behind which the hero is hidden. Miss Hah is evidently afraid of the effect of this surface characteristic, for in her preface she deprecates the hero's bcastfulness.

She need not have feared. Tartarin is loved by English and American readers of Daudet as wel. as by the French, and the humor of Cyrano is not uniike that cf his Provencal brother, though underneath his Boastfulmess there is the fighting blood of Gascony and that heroism which is of the soul and not of any time or country. The Cyrano of the first act, who runs through his adversary while he composes a ballade, is a hero of the dashing, D'Artagnan typo. But the Cyrano of the third act, who pours out his soul under the balcony of the woman he loves that he may win her, not for himseif, hut for Christian, whom she loves, is a man of a far higher order.

Fighting heroes have not been prone to sacrifice themselves in order, to place their mistresses in the arms of more favored lovers, and it is in combining this heroism of renunciation with the swasbuklering valor of a ready rapier and the cutting quality of a nim'ble wit that Rostand's play is original. Its vitality is attested fey the thorough fusion of the two qualities. In the atmosphere of three hundred years ago the man who relinquished his love must almost inevitably have been a milk sop. Cyrano establishes his valor in the first act, else the self abnegation of the third, even with the monstrous nose as a motive, would not have been reasonable. The grip of his creator is shown in the fact that Cyrano is still a fighting hero after Christian has climbed the balcony and won Roxane's maiden kiss.

The poetry of that balcony scene is not to be compared with any similar episode in dramatic literature etmce "Romeo and Juliet." On the stage it holds its own with audiences familiar with the great Shakspearean play. In reading one is conscious of the gulf 'becween the English dramatist and the Frenchman, but that does not destroy the beauty or tenderness of the love episode of the latter. Readers of "Ra mona" will recall the splendor and beauty of the night scene in which the Indian lover wins Ramona. The episode is almost un equaled in freshness and beauty in American literature and Rostand's love scene is a worthy companion to it, even in the prose into which Miss Hall has transmuted his rhymed Alexandrines. This English text is adequate in most portions of the play; indeed, better than any rhymed Englis'h could be and probatory more satisfactory as a whole than blank verse.

But in the balcony scene it loses something 'of the grace and tenderness which the original proibably holds; a tenderness which on the stage is supplied by tne thrilling accents of human passion ine xourtn act, or Cattle scene, is more dramatic than literary, and is to be enjoyed in the performance rather than in the read ing. But In that beautiful last act, where the hero, worn and old, concealing from Roxane his mortal wound, faces death gaily with his jest of a gazette upon his lips, one wishes Dotn tne text and tne action. There vnu get the soul ctf Cyrano in the exclamation, "What are you saying? That it is of no know it. But one does not fight Lnrua.ucje were is nope ot winnimg. It is mucn nner to ngm when it is no use." That generosity is not foreign to the Saxon tem perament.

It will make Cyrano loved the worm over wnerever there is a tradition ut orivo men wno can suifer as well as fight. Because it creates the charaeror ivninh that phrase is the key, Mr. Rostand's play to vuc ui mc vuik8 tor wmcn the world is cona oi predicting immortalicv. Mr. Dunbar's Novel.

A noteworthy event of the present publishing season Is the appearance of a novel, writ ten by an Afro American, Paul Lawrence uuuoar. mr. jJunnar has won an enviable reputation by his "Lowly Lyrics," poems wmcn nave been hailed as a genuine and ac ceptable contribution to American literature. Candor compels a less favorable criticism upon his boplc, "The Uncalled." The idea is excellent, the character drawing good, but, in spite of great painstaking, the author does not move about like one familiar it work. Moreover, one cannot help a feeling of disappointment that he has not essayed a picture of life among his own race.

The book opens with the deatn of a miserable woman the wife of a drunkard as deeradrl as hpr. self. The.child, who loses his mother and has Deen anandoned by his father, is adopted by an uiu maiu, nester i "rime, who seeks to bring him up in a godly manner. ''Her own love story is one of the best bits of writing in tho bock. The boy realizes to the full the curse of the sins of the father and becomes sullen, but ambitious.

In gratitude to his foster mother, he finally accepts her plans for him and enters the ministry, though feeling mat ne to uncauea. ills mental struggles end in renunciation of his nrofessinn and his happiness and regeneration are effected by a uujiau iuve luamreu. it is possible that Mr, JJunDar may become a novelist, but he will have to choose other models than these upon which he has fashioned "The Uncalled." The dock is issued by Dodd, Mead Co. A Handbook of Sociology. Social Elements," by Charles Richmond Henderson (Charles Scribner's Sons) will cer tainly evoke the wrath and flat contradiction of many who claim to be well versed in th contemporary history of labor in the United States.

The author is a professor in the Uni versity of Chicago and this may account for sucn a paragraph as the following: "Why have these vast accumulations of pro ductive wealth fallen into the hands of theii present possessors? Is it not at least largely due to the fact that they are the mcst suitable persons for the business? The very fact that they have succeeded where others failed proves tnat they are the right persons." Nor will this give satisfaction: "A comparatively few men take the larces risks of the uncertain future, and frequently gain imniensa ncnes out of the ventures More frequently those who attempt the enter prise ran; and tnese wno are foolish an wicked enough to trade from outside, utter ignorance of tho conditions of th world market, suffer, as they ought to suffer, severely, tor meddling in a most intrlcat business which they have not learned." It has been hinted many times that th University of Chicago was subservient to patron. But teachers and students outsid will hardly accept a text book (which thi professes to be) from an author so evidently inspired. Good Minor Poetry. "Tne Shrine of Love," by Lucteu V. Rule (printed under the direction of Herbert Stone Co.) is a collection of verse, melo dious and well phrased.

That which give its title to toe nook is a love story, a sort of "Confessio Amantis of the modem an respectable lover. The reader feels that may have been written as a long and tender love letter. The latter part of the book contains poems on recent events, such as the freedom of Cuba, the reported enmity of the French, etc. Lovers of poetry will find much to please them in tho little volume. proved in appearance and serviceableness, and work for some time and is much In touch I very cheerfully paid the bill of 6 for the with it.

He has been absent some of the sea job. It was so comfortable then that it re son on Long Island, sketching, but is now ceived a good deal more use than it had for a 1 installed again at his studio in the Brooklyn long time before, and the result was that in a i Library Building. short time my wife concluded it must have a Miss Pamela Smith, who has been set dowa new covering and she insisted that she could as a particularly original designer and done cover it beautifully with a curtain drape or 1 illustrations in color, also poster work, has portiere, or whatever you call those fuzzy some designs at Macheth's to be used as holi things. She accomplished the job at the day attractions. After studying at Pratt, trifling expense of $6.75 for the curtain and i she returned to her home in the West Indies several days of arranging and rearranging.

1 and painted considerably there. On coming Within a few months we becran ti niflriro back to Brooklyn she brought out, with that the man who had put in the springs had done a cheap job and that the springs were giving out again. I looked him up, only to find that he had gone out of business and left for parts unknown. "I gave the job to another upholsterer, who convinced me that in its present condition, even with new springs, the couch was good for less than a year at the outside, and that Che only proper way to get a satisfactory job was to have the' whole things taken apart and rebuilt from the frame, whth nw springs, new webbing, new filling and everything else except the covering. When it came hack to us that time it was really a fine piece of furniture and it was a joy to rest my tired bones on it.

But hy this time our children had grown to a considerable size and were wont to play upon the couch a good share of the time, with the result that it wasn't long before that heautiful drape began to take on the appearance of death and destruction, and by time I had succeeded in paying the upholsterer his bill of $15 for rebuilding the couch my wife had come to the conculsiou that it must have a drape in keeping with the general character of tho couch. So we sent it down and had it properly covered, as you see, and the bill for the covering was $11.50. But now we have a very comfortable and preseata'hle couch. I should advise you, if you are beat on buying a couch, to get one just like It. I see they are advertised for $9.50." Chicago Record.

AN IMMUTSrE. "Whati" exclaimed the assessor, who was calling upon the bachelor with literary aspirations, "do mean to tell me that you have nothing to be taxed? What's your business? How do you live?" "On my brains, sir," proudly. "Well," replied the assessor as he scratched his head perplexedly, "I guess they're about as near nothing as you could get." Detroit Free Press..