Indianapolis Journal, Indianapolis, Marion County, 12 April 1896 — Page 9

Part Tyo on C3 Pages 9 to 16 on i PRICE FIVE CENTS. INDIANAPOLIS, SUNDAY MORNING, APRIL 12, 1896 TWENTY-FOJJR PAGES. PRICE FIYE CENTS.

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THIS EEK i

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Special Sale

MONDAY ONLY

Monday you can walk into our Hat Store and buy a new spring- st3!e stiff or soft hat for 98c, in Black or Brown, that would cost you $2 or $2.50 in any other hat establishment. These are all sample hats direct from our factory, with silk band and binding-, satin-lined fur hats, made to sell for more than double the price. Remember, Monday Only Yon Can Buy One for 98c. .

Dainifairy JTOo EAST PETER F. BALZ, Manager. PENNSYLVANIA LINE FOR PHILADELPHIA. NEW YORK. HALTI31011E. avasiiinc;to.. PITTSui'iir;. DAYTON, CO LU31 11 US. 3 FAST TRAINS DAILY 3 Leave Indianapolis 5:45 a. m.. 2:45 p. m.. If jo p.m. Through Sleeping- and Dining Car Service for CHICAGO AND NORTHWEST ii FAST TRAINS DAILY 2 Leave IndianapolU 11:15 a, m., H'-.P,- m; Uunet Parlor Car on day train and local Sleeping Car on right train open every night at S:30 for passengers. For LOUISVILLE AND THE SOUTH T1IIIKU FAST TUAIXS DAILY. Leave Indianapolis 3:15 a. m., 8:10 a. m., 3:W p. in.. 4:15 p. m. 3:00 p. m. trein daiiy except Sunday. v .11, j .i,.,if. if en.irfi call on Atr.nts, No. 4S West Washington street, No. 45 Jackson place. Union Station, addresj GEO. E. ROCKWIILU D. P. u or Vandalia Line for Evansville, Ind. NO TRANSFER. Lcavo Indianapolis Daily 7:00 a, m., 3J.0 ., i:w coon, ii.jj v .. Direct connections mado in Terre Haute Union Station with all K. & T. H. trains. Through sleeper on U p. ra. train, open illsiL?l8:H' whlnston treet, No. 45 Jackson plac?. Union Mat!on.

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Stiff or Soft Hats for Hit WASHINGTON ST. SAFE DEPOSITS. S. A. FLETCHER & CO.'S SAFE DEPOSIT VAULT 30 East Washiagtou Street. Absolute safety cgalnst firo and burglar. Policeman day and night on guard. Designed for safe keeping of Money, Bonds, Wills, Deeds, Abstracts, Silver Plate, Jewels and valuable Trunks. Packages, etc, Contains 2,100 boxes. Rent $5 to $45 per year. John S. Tarkltigtoti, Manager. Square Pianosln Exchange on Hew Uprights We are prTa"l to allow tbe best posslb'e prices to those who fcatyoM, second-hand or new Square Pianos, Organs or Jlelodeonn, In exchange on Upright Pinnos. persons having each lustr imeuU iiouid not fall to give us a call, or write us fully. 1 PEARSON'S MUSIC HOUSE, 82 & U II. Peansjbanii St, IniUnapollsIai. ammmmm mmm mm tmtm u Hot Springs, llorth Carolina, Offers attractions nowhere ele obtainahln. NATUltAL Til U:IAL WATtl. fine lalhi, a specific in Kheumatiam, Uouc, Sciatici anJ nerrouj disease. ferfct cllmsie; beautiful ceuery. Through Pullman, trom ciacinnaU dauy, arriving noon next daf. fvlountain Park Hotel T7. O. VCVLITTLZ :::""-

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HAD A GREAT LEADER

LOTTO A. ITOCHCZ, OP TIIIS CITT, SANG A SOLO UXDEIl 3IGNDELSSOUX. Recollections of the Famous Composerlie Also Sair Meyerbeer of "HasiieiLOt' Fame at Spa. Thera Is one man la Indianapolis who has enjoyed the distinction of singing a solo under the personal directorship of the great composer Mendelssohn. Louis Antolne Dochez, who Is well known In this city, sang:, when a lad, In St. Paul's Church, at Liege, Belgium, and on one memorable occaotDn In 1946 a jubilee celebrating an anniversary Mendelssohn directed the musical programme. Mr. Dochez Is now a man of sixty-eight years, with a softened faco that shows his age Is not resting harshly on him. He has a remarkable experience as a sing er, Insomuch as his voice ha3 gone the entire vocal gamut. As a boy he Fang soprano, then alto, reaching a tenor and maintaining it during two years of his young manhood, afterwards passing to the baritone and basso. The individuality of his volco when he was a lad marked him for the honor of einglng at the St. Paul Jubilee, where he rendered the beautiful soprano solo in the Gloria of Weber'a "Mas3 In G." In those days there were no women s-ngers in Roman Catholic Churches, and, Indeed, there are a great many churches la Europe now where the choir master would faint were he to see a bonnet In the music loft. Numerous musicians regard the soprano voice of a boy of much finer quality than that of the average woman singer. Mr. Dochez was a student in a Jesuit Col lege in Belgium in 1S43. He enjoyed singing, though he had no intention of adopting music as a profession. He entered a choir for choral work on account of Its Individuality. No matter how well the unison an3 harmony of a chorus was preserved the voice of the Dochez lad was sure to be heard. A falling In this respect was turned to success in solo work and when the Jubilee plans were set afloat the boy was chosen to sing the solo in the Weber mas3 In G. For the event there was a chorus of only thlrty-flve or forty voices, the Germdn idea which tended to the predominance of the orchestra prevailing. Felix Bartholdy Mendelssohn, whose very name conjures up ecunds of "Midsummer Night's Dream," besides the magnificent concerto in G and other grand works, wielied the baton that day. MENDELSSOHN'S GRACEFUL WAYS. , "I remember Mendelssohn on that occasion as a fine looking man," said Mr. Dochez the other day, when questioned by a Journal interviewer. "He had the beautiful complexion which is so noticeable among young consumptives, for, you know, the disease was just beginning to make inroads on the man then.. It was only a comparatively short time after this event that he passed away. His eyes were very bright In his manner he was exceedingly quiet, and withal very graceful, not a movement of his hand or arm seeming stiff as he directed with his baton. There were few flourishes to his style of directing. I remember well the way his hands would flutter as he motioned for the orchestra to play softer, but without avail. I was too "young to remember a great deal about Mendelssohn's appearance .that day and I ..am sure he was too great to pay much attention to me. lite frequent commands. to -the" orchestra to play softer recalls the disposition of the orchestra in those days to make itself heard. The first violin wanted It understood that the first violin was playing, and so it was with every other instrument. It was difficult to make the players submit to leadership, as each of them was a soloist and wanted to shine. For this reason the German" orchestra was far less satisfactory than an Italian ono in accompaniment work, yet, on the other hand, a German orchestra, with few piece?, could play a difficult work with far better effect than a like orchestra composed of players of another nationality. I have heard a German orchestra with only four pieces present, play a Beethoven symphony. A French orchestra would not play at a rehearsal even until every instrument was there. The Italian orchestra, while usually small, furnished an excellent accomcompanlment." Mr. Dochez has had as varied an experience In business life as In the realm of music. He was educated for the diplomatic service, which he entered by examination, after completing his college course. .His first assignment was to the Belgian mbassay, at The Hague, For two years he was secretary of the legation at Bio Janlero, Brazil. ' His travels took him to most parts of the world. In 1848 and he was in the employ of the old East Indies Company, s-erving as master mate on board ship. In 1857 he came to this country, locating in Boston. While in Europe he sang some dn opera, most of his work in this line, however, being confined to America, principally at San Francisco. In all, he has sung in fifty-eight operas. Mr. Dochez remembers seeing another of the master composers of the world Meyerbeerwho wrote the incomparable,' Th3 Huguenots." HE SAW (MEYERBEER. "I saw him at Spa, the famous watering place, when I was a young man," said he. "He was a Email man, and always wore a dress coat. He couldn't speak French very well. He was no fop. Frequently I saw him riding a donkey about the place. While there he wrote most of his opera 'Dinorah. His wellknown 'Shadow Song, from the opera, was written specially for a Belgian eingtr who was then at the resort, a Mll3. Serneels, who was a first-priza graduate of the " Belgian Conservatory. (But she eloped with the secretary of the Spanish legation, and the song was afterwards sung by Mme.- Cabel. In my opinion, there is no opera beyond Meyerbeer's "The Huguenots." It is my ideal of opera. Did Meyerbeer write any church music? He certainly wrote no Roman Catholic music. He was a Jew." Mr. Dochez, becoming reminiscent, epoke of a great quartet hat was in Its glory in Paris in the days before the present century was half gone. Donizetti had composed "La Favorita," having in mind the part of Fernando for Duprez, the great tenor, who' recently celebrated his ninetieth birthday.- At that time Duprez was as Mr. Dochez described him, "twenty singers in one." Duprez was a member of this quartet, the other members of which were famous in their day. About this time Rossini composed "William Tell," intending the tenor role to- be sung by Nourlt, a well-known artist. Nourit had essayed the role a few times, when it came in Duprez's way to sing the came part. There was no comparison between the two voices. So vastly superior was the rendition by Duprez that Nurritt died from sheer chagrin. The role of Alphcnso in "La Favorlta". is one in which Mr. Dochez himself has often appeared. This role, and that of Mephlstopheles, in "Faust," are favorite ones with him. He has sung in companies with Harry Peaks, basso, Vernon, tenor, and Mme. ZeisDenis, a renowned contnlto, who died in Paris last year. " Seldom does the voice of a singer last more than a few yearsl The great one3 Mr. Dochez knew in his prime bear names almost unknown to the present generation. Many of these singers he knew when they were in tha same conservatory ha attended in Belgium. . - WAGNEIUTE3 BEFORE WAGNER. "Nc. I Co net co lt mpturca ever Wc-

Bald Mr. Dochez, when pressed to give an

estimate of the Wagner 6chool. "There are some great things In Wagner's works, but I do not think his. music is according to nature. He wants us to ee things ho imagines he sees. He is like an impressionist painter, that gives us purple cows. When his operas first became known in this country I was living in Boston. George F. Root, the well-known composer of American songs, showed me a clipping from a Boston paper. This clipping commented on Wagner by saying, 'He knows no melody, and for that rea son he composes as he does I remember a man named Fetls, who was at the head cf the Brussels Conservatory. He composed in the Wagner style before the . "Lohengrin" composer became known to the world. "Fetls wrote a mass when the Queen cf Belgium died. The mass was all right as far as the three-and-two-make-five principle was applied, but it was discarded. It lacked the melody and vital quality. This man was one of the executors of Meyerbeer's will, but he didn't have a king for his friend as Wagner did, and the school he might have originated instead of' Wagner leaves him no laurels." Mr. Dochez has given much attention to church music He has three favorites among the thousands of masses that have been written. One of these Is NIedermeyer'a in B minor, another is one by Payne, an American composer, which "does not contain so much melody, yet is a finer composition, while the third one is Guonod's "Messe Solemnelle." NIedermeyer came to Paris as a companion of Wagner. One of the songs he wrote to the word3 of "Autumn," which the poet Lamartlno composed, is still sung. He also wrote an opera, "Marie Stuart." which was never produced. Mr. Dochez has one son that is musical and that Is Mr. Louis Dochez, jr., whose fine baritone voice is heard at the Second Presbyterian Church. The father sings no more. He finds more satisfaction In literary work, being engrossed now in writing a religious book, the advance chapters of which show much original thought as well as deep research. PASSING OP THE HAT THIS REFERS TO THEATRICAL HEADGEAR AND NOT CHARITY. Dickson fc Talbott Thlnlc a Law Similar to the Ohio One May Be Passed In Indiana. The passing of the theater hat Is a pathetic spectacle to the milliner, but it Is one of the signs of the times. The big-hat-at-the-theater fad has seen its best days and is soon to. go out of existence. It is not that fashion has set its dainty foot on the custom, but it i3 because legislation has been commenced against it. Big, outspoken and inconsistent man says It's a blessing that the big hat must go, while lovely woman declares it, is unjust. The General Assembly of the State of Ohio was the first legislative body to array itself against the custom of wearing- hats at the theater and other States may be expected to fall rapidly Into line. Last week at Columbus the following section became a law and was inserted in the Ohio stctutes: "Any owner, lessee, proprietor or manager of any theater, hall, opera house or any such building where theatrical or other performances are given, where anadmissionfee is charged, who permits or suffers any person or persons during the performance In such theater, hall, opera house or building where such performance Is given, to wear a hat sufficiently large to obstruct the view of persons sitting behind her shall be guilty cf a misdemeanor, and shall upon conviction be fined not more than $10 nor less than J2. Every hat permitted to be worn in violation of the law will constitute a separate offense. This shall take effect and be in force from and after its pxssage." THE DICKSON & TALBOTT HOUSES. The theatrical firm of Dickson & Talbott, which controls the theaters of Columbus and Dayton, has received copies of the law and now, since it has passed, the members of the firm are speculating on its probable success or failure. To the theatrical manager of experience, the new law presents some alarming phases. Managers can see indignant women, irate husbands and sweethearts and no end of litigation ahead of them unless the greatest tact is used in the enforcement of the law. Dickson & Talbott have Instructed the managers of tnelr Ohio theaters to publish the new law in the house programmes and they are now waiting developments. Managers say that one of the perplexing problems of the measure Just enacted is that somebody has to decide whether the dimensions of the offender'3 hat conform with Ihe law or not. Just who this timorous individual Is to b3 managers cannot say. Men and women sometimes disagree about small matters of this kind. A woman may wear a hat that resembles more than anything else a bushel basket of roses and yet persuade herself that she has a very modest little bonnet. A half dozen men behind her know that their view of the stage is cut off, yet it may be a difficult matter to convince the woman that her headgear is cf a size to come within the scope of the law. She declines to remove this triumph of millinery and is ejected from the house. A damage suit follows and winds up In the Supreme Court. Expert witnesses must be examined by the score and no end of expense is piled up. A Jury of women would send the defendant in a damage suit of this character to prison for life. MR. TALBOTT'S COMMENT. Henry M. Talbott, in commenting upon the new law the other day said: "We are glad to see a measure cf this kind, although we are uncertain how to proceed about It. I think it is only a question of time when a similar law is enacted in Indiana. I believe the people are ready for it. If you have noticed in our theaters here, you will see that It la becoming a fad among ladles to attend performances without their hats. I feel that when people begin to understand the law they will be willing to conform to its requirements. Of course, we will have to be very careful. It won't do for a theatrical manager to have a woman put out of the house -because she refuses to remove her hat. His natural gallantry and politeness wouldn't permit him to do that. The best we can do when a complaint 13 made against a hat i3 to send an usher to the offender and request her to remove the hat. She may refuse the first time, but we can't despair. The usher will go to her again. If she Insists on wearing her hat and persistently refuses to remove It, the only thing we can do is to let her alone and go up next morning and pay our fine. I would rather pay a fine every day In the year than to have a scene in the theater , over a woman's hat. The law may cost us seme money each year, but it will undoubtedly add to the comfort and enjoyment of people who attend the theater." . s Mr. Talbott says that men frequently come to the box office during performances' and complain of a big hat In front oi them. In these instances the management, rather than arouse the wrath of the owner of the hat, provides the sufferer with another seat. Mr. Talbott is of the opinion that if ths Ohio law proves successful it will t adopted gcn eral!7 over the country. " t: D.:ii:unY-iTAT co::pa:it Ij io C V . w C . . .. 1 ,.. ,H

MR. RILEY'S STORIES

THI3 FIRST APPn.lRATCn OP THE POET I.V ISDIAXAPOLIS. Youngntrrs That Were Highly Delighted with Ills Famous Bear and Peanut Stories. It was a number of years before Jamrs Whitcornb Riley became known to the public press that he used to come to this city en visits to relatives and friends. They knew that ho wrcte pec try, and sometimes he fwoull give the family an inkling of what he ws doing, favoring them with recitations. His first appearance In this city, in a very quit t way, as a reader of his own writings, was aoout eighteen years pgo. At that time be came over from his home in Greenfield and spent a few days with, his relatives, Mr. B, F. Riley and family, who then lived on Nona Delaware street, just. above St, Cla!r. Mr. Riley, who was always called "Jim," consented to allow Mrs. Riley to invite some people one evening, promising to recite. There were perhaps thlrty-flve or forty there, including a dozen or more children of the several households represented. These young sters were placed on the front chalr, and they tittered and giggled with delight at the funny stories Mr. Riley told. One of the latter was a bMr story, and they sat there with eyes anJ mouths wile open and took in every word. The story wis of a little boy, and he went to the woods and out came a groat, big bear, and ho was going to eat the little boy up. The little boy Mir a sycamore tree, and he ran and he climboi up the tree and he got away from the bear. The bear sat at the foot of the tree, anl tha tittle boy could nofl get down to go home. P-y and by the little boy got hungry, and he ha J to pick apples off the tree and eat 'em. The ridiculousness of the boy eating apples off the sycamore tree, coming after the terrible time the boy had had with the bear going to get him, struck the fancy of the children, while the older people were charmed with the naturalness of hl3 way of telling the story. The bear ctory was followed by another child's story, for the poet peemed perfectly willing to entertain the children. They were his Interested auditors, and their will appreciation and the expressions of delight pleased hin immensely. The second story was "Didn't he, Charley?" This was another great success. A member of the company thought Mr. Riley quite wonderful and predicted that "if ho kept cn, he would jMXJbably amount to something eome day." If this lady remembers that she made the remark the will no doubt have some feeling of pride la being able to look into the future and predict what has been so truly fulfilled. HIS SECOND APPEARANCE. Mr. Riley made such an impression on the children that they remember to this day just what he recited and how they eat, fV.led with wonder, at the marvelous tales he told. The people crowded around him and he was much gratified that he was commended for what he had done. It was about two weeks after his first appearance that Mrs. V. T. Malott, who had been to the first entertainment, invited the relatives and eome other friends to her house when Mr. Riley was -In town. He recited that evening and tha wonder of the first recital grew with fba children, while-the older ones were harry to find Mr. Riley was to recite again. T2ioa who heard-hlm the first lime had the .pleasure of informing "the neighbors what to expect The peanut story, which Mr. Klley has since given more than almost any other sketch he ever wrote, was recited this nlRht and it started in with the earn sncctea which has attended if ever since. The persons who heard him then say he looked tha same as he did fifteen anl more years after. There was the same expression and the same manner. After these two evenings at the hemes among relatives, Mr. Riley did not come tiack for some time. It was af:er this that the Journal accepted his contributions of verso and gave him his first start toward the brUHant career which has road him great on rwo continents. Mr. Riley's peanut story has convulsed scores of audiences. Big and little people have shouted themselves hoarse over It and Mr. Riley's clever way of telling It, Or. evening a number of years ago Mr. Riley recited at the Central-avenue Church. It was before the present grand edifice was even thought of. The great, barnlike room which served as a church was crowdrd wit a people. On the front rows there were some twenty little boy?. Mr. Riley gave two or three selections and finally the peanut story. He was to the children a real schoolmaster, with the privilege cf asking questions. The chUdren thought themselves In echool, anl when he took the peanut out of his pocket and held It up between his thumb and forefinger and asked, "What is this little thing I hold in my fingers?" the children's hands went up and they ehook them furiously ith the desire to answer the question. Mr. Riley's eyes twinkled and he cast a furtive look at the youngsters. His mouth twitched and he waited, rising on his tecs, as he always did. Then he proceeded. Some of the boys looked sheepish when thej remembered that he was telling a story and not asking for information. To the children of hl3 Intimate acquaintance he was "Jim." They, never thought cf him as anyone else. One day a little friend of his, a familiar one, who knew him we'.!, recited one of his poems in school. She lii not give the name of the author. The teacher asked her for the name, and she replied "Jim." "WHAT THE BARREL CO.TAIXED. Puzzling? Question "Which the Witness! Could ot Determine. Washington Star. Stories of how bright witnesses get the better of smart lawyers are frcqm-miy met with. One of the late?t to find its way into public print Is related of Jude Hendershott, a leading lawyer of Ottumwa, la. The Judge was trying a case und-r the prohibition law. An important question raised as to whether or not a tarrel cf whisky was delivered to the defendant. An Irishman by the name of O'Connor was the drayman, and when Judge Hendershott started to cross-examine him he conclu1M to frighten him Into contradicting his testimony on the examination in chief. Assuming a dramatic pose anu with a strn vok he said: "Remember, sir, you have swora to tell the truth, the whole truth and nothing but the trJth. Remember that to iifvlate one iota from the truth Is perjury, and the punishment for perjury is Imprisonment in the tftate peni:entrry of Iowa. Now, sir, upon your oath, did you deliver that barrel of whisky to Pat Duff) T' The Irishman answered coolly and llib rateiy: "Well. Jedge, teln' on me oath, faith I couldn't say. I delivered a tarl at Mr. Duffy's place. One ind of that Tor'l was marked Tat Duffy on the it her ind wa marked 'Whisky.' but be in on mo oath I couldn't say whether Pat Duffy cr whisky was in the bar'l." The defendant was convicted. mmmmm9mimmmHmmmmmmmmmmmmmmammmmmmmtmmmmwmmm The Tnro-IJell signal for Sfnrtlng. rhl!ade:phia RecorA. An explanation of the practice of rirglrg two bells to start a ftrtct car was made by an olu street-car man, and. if not trustworthy. It is Ingenious. He declared that when , horse cara were first ued here cne bell was used to start the car and cr. bill to :-too It. The hordes soon broke down. They foundered at the knees, cr th ir shoulders gave way. Every device that cuu!d be thought of was trie-d to rase up tie stra!n or starting. Spiral srrlr..; wti on all the traces, but ny cocA rt.u!t -d. Finally a countryman who hid n employed a weel: rs a driver f u 'Stt-l th it two bells be c-J to start ths cr. and l. averred th-t wh'3 th hcrrs u-d to it they rc-.'.l f?t the rdves ci tl .1 f.rrt rlr.T rr.d ts rcr.dy to pull ut tb rw:- i. Th r'r tri:-d. rr. ! v? s.j tl;-; 1: hi! t::ibr cv: ? ; -