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Updated: June 4, 2025
Both had been to Europe that year La Farge to pay his first visit to Italy, while Schuyler, whether with or without La Farge I forget, had made a somewhat extensive trip through rural England in, I think, a dog-cart. The conversation ran chiefly on their experiences and suddenly Schuyler turned to me with: "Here, you Englishman, why do the middle classes of England live chiefly on parsnips?"
Pupil of Dennis Bunker in Boston, H. Siddons Mowbray and La Farge in New York, Benjamin Constant and J. P. Laurens in Paris, and always of her father, W. T. Richards. Miss Richards' work is varied. She is fond of color when suited to her subject; she also works much in black and white.
We may add that the breaking of the sixth commandment in no wise affected Smoky. Jake Farge had been warned that he would be shot on sight if he made "trouble." Everybody in San Lorenzo County was well aware that it was no kind of use "foolin'" with Pap Ransom. Jake in a word deserved what he had got. Smoky would have drawn as true a bead upon a squatter disputing title to his land.
"I don't know yet the charge must be newly filed, I guess," said La Farge, answering the last question first. "But I hope they nail him! I don't like him never did. He's too fresh. He's too smart one of those self-educated East Side Yiddishers, you know. Used to be a court interpreter down at Essex Market knows about steen languages. And he here he comes now."
John La Farge was always himself, but when the general movement in mural painting began in this country with the Chicago World's Fair and the subsequent decoration of the Library of Congress, the rest of us were much under the influence of Puvis de Chavannes. Even then the design was not his, but was founded on earlier examples of decorative composition, but his pale tones were everywhere.
With the relative value of La Farge's glass in the history of glass-decoration, Adams was too ignorant to meddle, and as a rule artists were if possible more ignorant than he; but whatever it was, it led him back to the twelfth century and to Chartres where La Farge not only felt at home, but felt a sort of ownership.
Adams himself was an interloper, but long habit led La Farge to resign himself to Adams as one who meant well, though deplorably Bostonian; while Adams, though near sixty years old before he knew anything either of glass or of Chartres, asked no better than to learn, and only La Farge could help him, for he knew enough at least to see that La Farge alone could use glass like a thirteenth-century artist.
Clad in an easy-fitting dark blue "lounge suit," with narrow white cross-bar lines on it, an aged and faded orange sheep-skin hearthrug thrown gallantly across his shoulders, Farge, on all fours, with the mildest roarings imaginable, made rushes from under the dinner-table at the devoted Worthington, who withstood his fiery onslaught with lungings and brandishings of that truly classic weapon, the humble necessary umbrella.
Couture is little more than a name. It is curious to consider why. Twenty years ago he was still an important figure. He had been an unusually successful teacher. Many American painters of distinction, especially, were at one time his pupils Hunt, La Farge, George Butler. He theorized as much, as well perhaps even better than he painted.
At the galleries and exhibitions, he was racked by the effort of art to be original, and when one day, after much reflection, John La Farge asked whether there might not still be room for something simple in art, Adams shook his head. As he saw the world, it was no longer simple and could not express itself simply.
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