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Ives down here to see your things?" "Well, for God's sake, don't! Before he left I'd probably tell him what I thought of him." Eden rose. "I give you up. You know very well there's only one kind of success that's real." "Yes, but it's not the kind you mean. So you've been thinking me a scrub painter, who needs a helping hand from some fashionable studio man?

Any little thing with blue eyes and blond curls can do it. I wanted you to see what I do, say what you think, like it or damn it only do something about it! You've never been to my studio except to stand with the perfumed crowd and talk commonplaces in front of a picture." "I can't go alone."

If Swift could hint a doubt of Marlborough's courage, what wonder that a nameless scribe of our day should question the honor of Clyde? Not many days since I went to visit a house where in former years I had received many a friendly welcome. We went into the owner's an artist's studio. Prints, pictures, and sketches hung on the walls as I had last seen and remembered them.

In the olden days, when Venice was at the height of her glory, splendid fetes were given in the city, and the gorgeous shows were a wonder to behold. Early in the morning of these festa days, Carpaccio would steal away in the dim light from the studio, before the others were astir. Work was left behind, for who could work indoors on days like these? There was a holiday feeling in the very air.

The woman was pulling the long black hair of this mightiest of men, who bowed his head and permitted it. In time they quarrelled, of course, and about an abstraction, as young people often do, as mature people almost never do. Eden came in late one afternoon. She had been with some of her musical friends to lunch at Burton Ives' studio, and she began telling Hedger about its splendours.

As for Uncle Venner, as a mark of friendship and approbation, he readily consented to afford the young man his countenance in the way of his profession, not metaphorically, be it understood, but literally, by allowing a daguerreotype of his face, so familiar to the town, to be exhibited at the entrance of Holgrave's studio.

One likes to think of his studio being visited continually by church patrons and prelates anxious to see how their particular commission was getting on. Tintoretto married in 1558, two years after Shakespeare's birth, his wife being something of an heiress, and in 1562 his eldest son, Domenico, who also became an artist, was born.

It is like you, dear Donna Evelina, to have sent me photographs of my future friend Waldemar's statue.... I have no love for modern sculpture, for all the hours I have spent in Gibson's and Dupre's studio: 'tis a dead art we should do better to bury.

That's why, in all our walks together, and at home in the studio, I'm trying to teach you something that you will want to know by and by." Keith never remonstrated with his father after that.

Even his most delicate pictures are largely felt and sonorously executed; not "finished" in the studio sense, but complete two different things. Fate was against him, and the position he might have had was won by the gentle Puvis de Chavannes, who exhibited a genius for decorating monumental spaces.