Evening Republican, Volume 17, Number 55, Rensselaer, Jasper County, 5 March 1913 — Page 3

| r rri HE recent exhibition at the i | [I Art Institute in Chicago of ’ the' portraits of the late " I je George Peter Alexander \ Q/> Healy, who, although a na- \ E—tive of Boston, afterward became a resident of Chicago, and really quite ‘.‘to the manner born,” In spite of his birth and his subsequent residence abroad for so ’many years, created more than a ripple in the art world, and showed again what a strong and representative man of his era he was. It may be said truthfully of him that he was a most conspicuous figure In the latter part of the second era of the art of portraiture in America, as Gilbert Stuart was of the first era. , Aside from the strong merits of the portraits seen at the Art Institute, their exhibition recalls to the writer a story told jhim many years ago by a boyish boon companion of Mr. Healy, the late George Loring Brown; so famous for his studies of atmosphere and poetical distance In landscape and still marines as seen under the skies of sunny Italy. Mr. Healy, at the time of which I speak, was about twenty years of age, and Mr. Brown a year younger. Mr. Healy had been studying art in a somewhat desultory manner-r----about the only way in which art could be studied in the New England city at that early day, and was making preparations to go abroad to enter upon his studies In an earnest way. He had attracted the attention of Mrs. Harrison Gray Otis the year before, that lady then being the queen of society In Boston. He had gone to her with a letter of Introduction, when she asked the shy boy what she could do for him, and his reply was, “Oh, sit for me, Madqme! Iso want to paint a beautiful woman!" She did so, and the portrait made quite a local reputation for the boy, upon which he made arrangements to go abroad. Mr. Brown, the constant companion of Mr. Healy, was born in Boston, February 2, 1814, and began to draw when eight years old. His father used to encourage the boy to make caricatures of people whom he did not like, and got the boy into many a scrape. If he drew the caricatures, as he told me once, he had trouble with the people thus travestied, and, if he did not, his father made it very uncomfortable for him, sending him out on the Back Bay In winter to cut holes in the ice, and fish for eels and other inhabitants of mud and water, among other things. But the boy survived it all, and finally went to the Franklin school, where he won the sliver medal, and at twelve years of age was apprenticed to the famous engraver, Peter Parley, where he learned the art of drawing thoroughly, which stood him in such stead In his later career. While with Parley, who, It may be remembered, was the wood engraver who Illustrated so many of the school books of a century ago, the boy experimented with colors, and when not at work at his engraving was experimenting constantly with colors, with the result that he attracted the attention of Isaac Rich, a wealthy merchant of that day, who one day asked him banterlngly how much he wanted to go to Europe. “One hundred dollars!” ,he replied enthusiastically, displaying a wonderful Ignorance of the world. But Mr. Rich advanced him the hundred dollars, and the boy began making preparations to go. It was about this time that the two boys began to see the world opening its doors to them, and in honor of this event, young Brown invested a dollar or two In beer and something eatable “on the side”—the beer portion of the menu being considered as something almost criminal in Boston in those days—and the boys made a night of it In honor of their early departure for Europe, and the taking up of their life work In earnest. The beer had a good deal of “head” on it, and it gave a good deal of "head" to the boys, with the result that the'two future great artists soon began to imagine themselves great already, and boasted of what they would do. “I will paint pictures of Italian scenery,” declared Brown, “and have my pictures in all the castles of Europe.” “And I,” said Healy, “will paint the kings and other notables of Europe, and have them In the castles side by side with yours.” . < I did not know Mr. Healy personally, but was acquainted Intimately with Mr. Brown for many years, and have heard him many times tell how he finally got away to Europe. He went down to the wharves, and Inquired around until he found a vessel that was ready to sail for Europe. He dM not stop to ask what part of Europe, thinking that once the other side of the water he would find everything easy. A married sister gave him a mattress, and he. marched down State street to Long Wharf with the mattrees on his back, having taken steerage passage. He found, after the boat set sail, that her destination was Antwerp, almost as far from Italy as Boston itself. When he landed there he had twenty-five dolars left. But he had made a friend of the captain of the vessel, who lent him fifteen more, and with this amount henfenaged to get to London, where he was befriended by Mr. Cheney, the American engraver, and he began at once his studies of Italian landscape, living almost on the verge of starvation for neterly a year, at the end of which time he sent a picture home to Mr. Rich, who sent him more money, and he continued his Studies. As an evidence of his conscientiousness in

BOYISH BOASTINGS Now they were fulfilled almost literally

study, it may be mentioned that he had secured a fine study of atmosphere by Claude Lorraine, but he never reached his ideal In his over it, and finally. In a fit of desperation, he slashed his copy into four pieces with his ra?or, and threw the pieces in the bottom of his trunk, where they remained for two or three years, only to be resurrected finally at the urgent solicitation of Mr. Rich, who begged him to mount the pieces on a fresh piece of canvas, and who liked it so well that he paid him a handsome sum for it. This copy really started him on hid Journey toward artistic eminence In America. Meam time he continued his work, mostly in Rome, where Hawthorne met and was attracted to him,« making mention of him in “The Marble Faun;" and he was a noted and welcome figure in the American colony, the Brownings making much of him. He soon had pictures In several of the castles in Italy, and here and there one in other countries, there being a poetical dreaminess about his atmospheric effects that appealed to the cultured taste. He came home In 1860, and took a studio for a time in New York, "Where he painted a view of Mount Washington, which hq called “The Crown of New England," and which a number of New York gentlemen, among whom was Henry Ward Beecher, purchased and presented to the prince of Wales, afterward Edward VII, who was on a tour of this country at that time. The painting pleased the prince so greatly that he ordered a companion picture, “The Bay of New York,” both of which he had sent home to him, and they were hung in Windsor castle, at that time being the only American pictures so honored. So much for one of the boasters. Mr. Healy first went to Lohdon, but did not remain there long, the French capital appealing to him more strongly. The American minister, Hon. Lewis Cass, interested himself In the young artist, and Induced the French king, Louis Philippe, to give him sittings, the portrait pleasing stoned him to visit Windsor castle, to copy some the French monarch so much that he commlsof the paintings there, and later sent him home to America to paint some of the American statesmen for the Versailles gallery. But the revolution of 1848 put an end to this royal patronage. A famous painting of his later was "Franklin Urging the Claims of the American Colonies Before Louis; XVI,” which was shown at the Paris International Exhibition of 1856. He came home that year, and in Boston exhibited the great historical picture of Reply to Hayne,” which contains a hundred and thirty portraits, and which has hung in Faneuil hall ever since. This painting and other works attracted the attention of William B. Ogden, who has been called the “father of Chicago." He induce the artist to remove to Chicago, where he remained till 1867, when he returned to Rome, and afterward to Paris He had portraits of M. Thiers, the princes of Roumania, Lord Lyons and Hon. E. B. Washburne in the Philadelphia Centennial Exhibition of 1876, and of General Grant in the Paris Salon of 1878. He painted portraits of a number of distinguished Americans, including Andrew Jackson, Henry Clay, John C. Calhoun, John Quincy Adams, Generals Sherman and Me-

Both Napoleon I and Napoleon 111 attached a most superstitious importance to the letetr “M.” -Marboeuf was the first to call attention to the genius of the young Bonaparte at the military college. Marengo was Napoleon's first great victory. Melas was the name of the general whom he superseded in the command of the French army in Italy. Mortier was one of his best generals. It was Moreau who betrayed him. Murat, King of Naples, was the first martyr to his cause. Marie Louise shared the culminating point of his success. Moscow was the scene of his greatest disaster. and it was Metterulch who defeated him in the field of diplomacy. No fewer than six of his field marshal's and twenty-six of his best generals had names beginning with “M,” and Maret, Duke of Bassano, was his most trusted confidant His very first battle was that of Moulnotte, and his last that of Mont Saint Jean, subsequently and more universally known as Waterloo. Among his victories were those of Milleslmo, Mondori, Montmirall, Montereau and Montmartre. His first chamberlain was M. de Montesquieu. His last residence in France was at Malmalson. He surrendered himself to Captain Maitland, of his British majesty’s ship Bellerophon. and his attendants at St Helena were Montholon and Marchand. The superstition attached by Napoleon 111 to the same letter may be accounted for by the fact that his wife was a Countess of Montljo, that his most intimate friend was the Duke of Moray, and his moot dreaded enemy Mazzini. The most

NNAPOLEON AND LETTER “M”

by Earl Marble

Clellan, Admiral Porter, William H. Seward, Pres ident Pierce, Henry Wadsworth Longfellow, Ste phen A. Douglas, Archbishop McClosky, not for getting the famous one of President Lincoln. So much for the other boaster. Many of these portraits were shown at the Chicago Art Institute exhibition, having beer loaned by their owners, notably the Queen Eliza beth of Roumania, the Lincoln, the Grant, the Clay, the Calhoun, and others. While his vigor ous handling and strong effects made him par tlcularly successful with public men, he yet had equal success with the feminine character, at may be noted In the Queen of Roumania and other noted women; and one of the most re markable pictures of the late exhibition is that of a “Girl With Pitcher," which was painted at one sitting, at the studio of Baron Gros, in Paria in 1835, when he was but twenty-two years oi age, the color being marvelous, something llkt an echo, it might be said, of Thomas Couture then also a young man, but afterward a famoui one. The portrait of Franz Liszt, sitting at th« piano, witii a rapt musical expression, is the Liszt that the world knows —the musical and general world; the “Liszt Holding a Candle" be trays a rapt religious expression, quite anothei expression, such as this wonderful artist could discern and depict; the painting showed ths' great musical genius during his temporary re ligious madness, so to speak, when It will be remembered he renounced the world, and de dared he would end his days in a monkish institution, which of course he,did not do, but came forth again the musician par excellence. The romance of the two artists Is really quite a remarkable one, and the paintings they have produced illustrate most grandly the Ilves of twe earnest boys who were inspired by the high mo tlves that urged each to a most honorable ca reer, and "made the dreams come true” that were born of the boyish boastings.

glorious feats of arms by the French army dur tag his reign were the capture of the Malakoff and the grim Mamelon during the Crimean war. His most famous field marshals were MacMahon, Duke of Magenta, and the Duke of Malakoff. The great victory of Solferino, in 1859, too* place on the banks of the Mlnclo, and the cities of Mantua and Milan played an important role during the campaign. The Mexican war and the execution of the Emperor Maximilian caused his power to wane perceptibly; Malmesbury was the name of his most intimate friend in English political life. Sedan, which witnessed his fall, Is on the banks of the Meuse. The surrender of Meti rendered his restoration to power Impossible, and Moltke was the name of the man to whose genius he chiefly owed his defeat.

“That horrid old cat,” said Maudle, “told Claudio that I was forty!” "The mean thing!” agreed Mamie. “Ain’t she the limit?” “She sure is—but she might have done worse." "How?" "Well, she might have thought up some Me about you.”-—Cleveland Plain Dealer.

Not Up to Standard.

Rev. Mr. Thirdly—Now. re—regarding the milk you deliver at my house. Grocer-Yes, sir. A Rev. Mr. Thirdly—l— er—merely wish to re mind you of the fact that I use It for drinkin* not for christening!—Judge.

Truthful Friends.

FOR MILADY'S DRESSING TABLE

CREAMS AND LOTIONS NONE BETTER THAN ONES USED BY OUR GRANDMOTHERS. 4,.,: Composed of Simple, Inexpensive Ingredients, They Worked Wonders in the Way of Beautifying— Recipes Handed Down. •ill— I ■ Do you remember the book of recipes that you grandmother or greatgrandmother used to keep on the kitchen shelf? Among the many written in the book, in the small even handwriting so common in those days, were recipes for creams and lotions and ointments that we never hear anything about today. Some of the best creams ever compounded were those our grandmothers made out of simple, homely things that really did wonders in the way of beautifying. Of course, our grandmothers did not know everything, and we moderns have some improvements on the old-time remedies, but others have never been improved upon. One of the simplest of their toilet preparations -was the “clover cream” of early colonial days. This recipe called, for one ounce of pure mutton tallow, which was to be put in a bowl set in a pan of boiling-water. A sprig of sweet clover, lightly bruised and simmered In the tallow for 15 minutes, gave the mixture the special quality which made the charm. After removing it from the fire, a teaspoonful of rosewater was added and one drop of Attar of Roses. The whole was stirred gently with a silver fork, until perfectly cold, when It was poured into empty eggshells, to complete the dainty toilet requisite. . Another recipe which has come down from early times, calls for two ounces of mutton tallow and a half ounce of strained honey, melted with a half ounce of white wax and with a rose geranium leaf simmered with the other ingredients. A generous pinch of baking soda and a half ounce of rosewater were added after removing from the fire, and all stirred steadily until cool. An excellent bleach, which was in common use a century ago, was made from an old French formula. A quart of unskimmed milk was allowed to stand in a warm place until it thickened and was then set over the fire and brought to the boiling point. After being carefully strained a large green cucumber was gllced into ths liquid and the whole was again boiled until a soft, pulpy mass resulted. This was again strained and left for an hour to cool, when it was poured carefully into a bottle and the settlings thrown away. A tablesponful of alcohol was added and 20 drops of the tincture of benzoin, with any perfume desired. The lotion was applied at night, after washing the face, and allowed to dry into the skin, when it was followed by careful annotating with the clover cream. Two of the most widely used bleaching preparations of the olden time were the following: Six sprigs of the young leaves of white tansy laid to soak in a pint Of buttermilk for nine days added greatly to the bleaching properties of the buttermilk, which was used to remove tan; the second

NEAT RECEPTACLE FOR PINS

Cushion and Tidy Combined, This Should Be an Accompaniment of Every Drees Ing Table. This is a very useful little article for hanging upon the post>of the looking glass or upon a nail in the wall

by the side, and well within reach of the dressing table. The materials in which It is made are almost a matter of choice, and It Is entirely out-

BEAUTIFUL DEBUTANTE GOWN

An evening gown of white accordion plaited silk with tunic of white chiffon. It is trimmed with embroidered flowers and narrow strips of skunk.

recipe required freshly dug and grated horseradish roots to be mixed with buttermilk in the proportion of « tablespoonful to a cup of the milk, and was allowed to stand for 24 houra. This remedy was said to bleach off thq most obstinate tan that could be accumulated. (Copy rich t. I>U. by Universal Press Syndicate.)

Floral Fashion.

A pretty Louis XV floral head dress has been revived tar evening wear, according to the Philadelphia Times. It consists of a small oval-shaped flat bouquet of tiny flowers placed in a slanting position above the temple. Two or three different colored blossoms are chosen, such as pompon roses, forget-me-nots and violets in subdued tints; violet pansies, bluebells and lily of the valley; forget-me-nots and pansies alone; mauve pinks and jasmine; tuberoses and violets, purple heather and moss roses, etc. A corresponding bouquet of larger dimensions is pinned to the bodice. ' * A woman gives herself to a man out of love, and remains clinging parasitically to him out of necessity.

lined with a silk cord carried tote three little loops on either side and again pt the lower corners, and a long loop of the same cord is attached to the top by which it may be hung up. The upper part consists of a shallow pocket lined with soft white silk for hairpins, and interlined at the back with a piece of cardboard to keep it In shape. Below this is a pincushion, the surface of which to decorated with a preUy little floral design, and below this again three hooks are sewn on, which may well be utilized in the manner shown in the sketch. Upon the pocket the word "Hata pins” can be worked where indicated. Pale pink silk or satin, with eiaretcolored cord, would be a pretty combination of color in which tbto useful little article could be made, and In that case, the cushion might be decorated with a wreath of tiny blue tor-get-me-nota. Pale green silk, with apple green cord, would also be very pretty and effective and pale yellow silk and white cord would look equally well, but would, of course, soil more quickly than darker shades of color.

Street Dreeses.

' The newest for street wear, says the Dry Goods Economist, are the coat, the long-waiated. peasant models, the dresses, the modified drapery styles. Russian blouses and the bolero jackets, together with a wldb variety of simpler designs, which depend largely for their striking effects on the sashes, betls, collars, cuffs or vestees. Belts of leather, fancy cloth, metal or silk, appear in profusion on street dreusa of all grades.