Lincoln County advocate. (Canton, Dakota Territory, [S.D.]) 1876-1877, 1876-12-27


AN ARTISTS LOVE.
sTurn thy head little more to the
right, Gigia cara, and lift thy right
hand higher. There! that position is
excellent. Thou shalt rest in few mo.
ments, ben 07ndtz,
Gigia smiled, to assure the artist that
it was anything but wearisome for her
to sit to him, and then, as iftafraid that
by her very smiling she should disturb
her carefully arranged pose, her lips
closed and assumeda serious expression,
though her eyes still shone and sparkled
with laughter. They fixed themselves
on Antonio Ferretti's face, bent so ear
nestly and lovingly to his work. When.
ever his gaze met hers, she retained the
same bright look; SO soon as his atten-
ton was riveted on the canvass, those
black eyes of hers changed. They be
came grave, then crafty, and glanced
furtively around the room, uneasily
resting now on one picture, now on
another. a1
In the silence that followed Antonio's
words, let us take nearer view of the
scene. The studio is large, we'll light
ed and cheerful, The floor is bare,
save for Turkish rug spread over the
small platform, on which Gigia is sit,
ting, and behind which stands long
folding-screen, dark green III color,
serving the double purpose of shutting
oE all draught from tho door behind
Tbs ceiling is covered with whole
army of Cupids, which Antonio, at the
risk of breaking his neck, has placed
there with his own ready brushes and
paints.
It is more than likely that New
England housekeepes would object to
his room on the score of it's being in
disorder; but the confusion at least is
artistic, and there is no dust allowed to
rest on any spot. In one corner is a
pile of many. colored garments; Turkish
costumes, Egyptian nantes, Roman
peasant dress, turbans, sandals, cloaks,
shawls of every hue and variety, are
lying in mass, ready to be taken forth
at the artists pleasure, and draped
around the form of some model.
In another corner stands plaster
cast of the Apollo Belvedere, erect With
consciousness of his own beauty. Op-
posite smiles the Medicean Venus; and
not far off the Beauty of the Louvre
gazes Gas we'll as she possibly can with
her plaster eyes, on her Florentine
rival with an air that seems to say, 81,
with my dignity, am not afraid Of you,
with your perfection Of grace. Vari.
GUS other plaster faces hang against the
wall, and here and there an arm, hand,
or foot. And then the paintings! All,
they speak for themselves. No need of
extolling that representation of the I'M
mortal Dane turning once more to gaze
on Florence ere he, an exile, leaves it
forever. The dignity and the grief of
his form and countenance are blended
with such harmonious tints that one
stands before the picture rendered
speechless by admiration. And that
fairy-like and fanciful imagining of
Undine at the moment when she, be-
cause of the angry words spoken by her
husband, is being drawn down by her
kindred to her home beneath the
waves, leaving Hildebrand and
Bertha in the boat aghast ct
their work. No praises could add to
the beauty Of this painting. The scene
touches the heart before The words have
time to reach the lips. -
Other pictures there are, the subjects
drawn from sacred and profane history,
mythology, books Of poetry and Of
prose; all finely done; ali showing pow
er, strength of conception AID execu-
ton, and at the same time O certain
careful selection of the softest and most
delicate colors.
The furniture in the room is Of the
simplest description, for Antonio Fer
retti is not yet wealthy. Fame has
raised her trumpet for bin nearly to
her lips, but until the blast comes f,1ll
and long and clear, as it surely will in
a short while, it takes all that he can
earn to provide for his living, and to
pay for his models and other artistic
necessities. :.
And now let us cast glance on the
spirit OF this studio, as he stands before
his easel-the tall, handsome, manly
artist He INDUCES in none of the
eccentricities of genius; his black locks
are thick and curling, but they are not
allowed to fall to his shoulders. His
attire, like that Of any other gentleman.
with no striking peculiarities Of shape
and color, is faultlessly neat. His
face, of Roman type for Antonio.
though res ding in Florence, lie native
OF the Eternal City, shows determine
tlon, perseverance and enthusiasm
true Ingredients Of genius. Ii we
observe it more closely, VIC may see BY
The now half-hidden CLEAN in his dark
eyes that he has the Southron's passion
ate temper; that in moment of sudden
anger he might be led to commit deeds
unworthy of his noble nature. But
he wide, open brow, and certain lines
about the mouth, show us that he has in
part learned to keep a control over him
self, and chat if, in an outburst Of
wrath, he should chance to wrong any
one or anything, he would repent Of il
or the remainder of his life, and do all
nat ne could in the way Of reparation.
Besides generosity, his face indicates
perfect truthfulness, such as can never
.werve aside, nor suspect others Of
long so. Knowing himself worthy Of
u trust, he would repose perfect conf
lence in others. s7'
The picture upon which he is working
? representation OF Helen Of Troy at
ne moment when she consents to flee
nth Paris. Beautiful, wonderfully
'eautiful, is Helen in the picture, and
!er face is an exact copy of the models.
'ure Grecian features, soft, delicate
ontour, complexion clear and white.