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Humboldt says, 'The lava, broken into sharp pieces, leaves hollows in which we risked falling up to our waists. Von Buch mentions 'the sharp edges of glassy obsidian, as dangerous as the blades of knives. Wilde tamely paints the scene as a 'magnified rough-cast. Prof. Piazzi Smyth is, as usual, exact, but he suggests more difficulty than the traveller finds.
Writes to his wife from Boston about a bonnet. Goes to Washington, D.C. Paints large picture of House of Representatives. Artistic but not financial success. Donates five hundred dollars to Yale. Letter from Mr. DeForest. New York "Observer." Discouragements. First son born. Invents marble-carving machine. Goes to Albany. Stephen Van Rensselaer. Slight encouragement in Albany. Longing for a home.
Introduction to Burke and Dr. Johnson. Anecdote of a Monk, the Brother of Mr. Burke. Introduction to Archbishop Drummond. Mr. West's Marriage. Chap. Some Notice of Archbishop Drummond. Mr. West paints a Picture for His Grace. His Grace's Plan to procure Engagements for Mr. West as an Historical Painter. Project for ornamenting St. Paul's Cathedral with Pictures. Anecdote of Dr.
Garstin is great because he paints not merely for the eye that looks for a sort of painted photograph, but for the eye that demands a summing up of character." Arabian looked sideways at her. "What is that of character, mademoiselle?" "A summing up! That is a presentation of the sum total of the character." "Oh, yes." He looked again at Cora. "One knows what she is by that," he said.
But Lord Newmarket is reckoning without Rupert Blacknose. Blacknose has not only sworn to wed Lady Angela, but it is he who holds the mortgages on Lord Newmarket's old home. It is at Newmarket Villa that he means to settle down when he is married. If Fido wins, his dreams are shattered. At dead of night he climbs into Fido's stable, and paints him white with a few black splotches.
O, and he has a third weakness which I came near forgetting. He paints. He has never been taught, and he's well on for thirty, and he paints." "How?" I asked. "Rather well, I think," was the reply. "That's the annoying part of it. See for yourself. That panel is his." I stepped toward the window.
You ketches yer sparrer, and you paints him a lively yeller, and then you sells him to your innocent customer for the finest canary as ever wabbled in the grove a little apt to be mopish at first, but warranted to sing beautiful as soon as ever he gets used to his new master and missus. And, oh! don't he just sing beautiful not at all neither." "There's the bottle, Hawkins, and there's the brush.
He paints, with inimitable veracity, the gradual advance from the first origin; "he gives," as Lessing says, "a living picture of all the slight and secret artifices by which a feeling steals into our souls, of all the imperceptible advantages which it there gains, of all the stratagems by which it makes every other passion subservient to itself, till it becomes the sole tyrant of our desires and our aversions."
Who put it there whether the God that gave Shakespeare his brain and Wagner his harmonies, gave Christ His heart or whether it was the God that paints the lily and moves the mountains in their labours it matters not. It is one God, the Author and First Cause of all things.
<b>STACEY, ANNA L.</b> Honorable mention at Exhibition of Chicago Artists, 1900; Young Fortnightly Club prize, 1902; Martin B. Cahn prize, Exhibition at Art Institute, Chicago, 1902. Member of Chicago Society of Artists. Born in Glasgow, Missouri. Pupil of Art Institute in Chicago. Paints portraits, figure subjects, and landscapes. The Cahn prize was awarded to the "Village at Twilight."
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