, 1885-03-14
AN ARTISTIC FIGHT.


allows it to take a beautiful sweep that Is
most delightful to the eye. Beatrice park is
opposite and Battersea itself Is further up
the river. Another old timber bridge
crosses the Thames at tho upper end like a
Chelsea veteran IN crutches. Fur
the down there is a spick and
span, star spangled, gilt-edged suspension
bridge of the latest fashion. Near the old
bridge, appropriately enough, cluster the
ancient moss grown tilo roofs OF bygone
Chelsea. By the new bridge are the tall new
mansions OF the Norman Shaw fashion.
About at the junction of ancient and mod
ern houses rises the square old tower of Chel-
sea church., which stands ready to ring out
the old and ring in tho ne W" styles OF archi-
lecture.
Standing on Battersea bridge at night, the
sight down the embankment is a most intor-
esting one; the row Of lights duplicated in
tho water II the tide Is high seems like n two
mile double string OF pearls with here and
there a ruby among them The red light
shows where stone steps go down to the
river.
Sunday afternoons is a great time ON the
embankment, as everybody and his wife
walks up and down, and they generally
bring the children But during church time
in the forenoon the long -embankment is gen.
orally deserted, except by a few old repro
bates who do not have the grace to pretend
they are at church by staying in doorA
One fine Sunday morning l walked down
the embankment and saw a number Of big
hulking bargemen dressed in their coarse
moleskins, leaning over the granite wall
looking down at the river. They were evil
IDENTIFY idling away the time till the
public houses opened, which would
be at 12 or Whereabouts As
there was seemingly something down
there that amused them, and as
the chances we're that it was a man drown
ing, for that Is about their idea OF real good
fun, l looked over the embankment wall my
self. The tide was far out and from the bot
tom Of the granite wall a reach of white.
round pebbles stretched to the muddy edge
Of the receding water.
Close at the foot Of tho wall, where l pre-
sumo ho had thought himself free from OBJ
~servation, sat a young artist Of a three
legged camp stool. He had his thumb
through a little japaned tin box Of water
c~olors, and he was working away diligently
on a sketch OF old Battersea and the timber
bridge. He had the ancient Battersea church
tower as the center object Of the picture.
He paid no attention to the remarks OF the
baTgemen above, and probably thought they
were not accomplished enough in art matters
for their criticism TO be OF much value 10
him At last the center man, and the big
gest, toughest bully Of the lot, hit on a way
OF securing attention The act was charac-
~teristic. The bargeman leaned far over the
stone parapet and getting his foul mouth d.
rectly over the picture let fall a quantity Of
tobacco juice that descended square ON the
drawing, and as the picture formed a sort
OF inclined plane 1t flowed in a brown, dis
gusting stream across the surface, plotting
out part OF the watsr-color and destroying
the labor Of a forenoon. The success of this
effort was greeted with loud laughter by
the rufiian's comrades, who evidently looked
ON It as one Of the most refined pieces OF gen.
uine humor they had seen for a long time.
/ expected the young man would swear
somewhat, but he didn't Taking the de-
filed sketch gingerly by the corner heiwalked
to the edge Of the ebbing river and dropped
1t in the river. Returning he looked upon
the gang and said:
"If the brute who did that will como down
here on the single l will be pleased to punch
his head for him, although / don't usually
handle such carrion."
There was a big langh at this and the
scene certainly was ludicrous. The slim
artist stood with HIS hands ON his hips look
ing up at the bargemen, each OF whom was
about as big as three Of him
Better goa whome to thy NANNY,
yonker," said the gruff voice of the splitter.
II thought it was you. You're not afraid
to come down are your You look like n
coward. Nobody but a ~cowardly hound
would do such a thing"
Now IL isn't a safe thing TO call an English
man q coward, no matter in what walk of
life he is. The bargemen at once moved for
the steps, the big fellow muttering that he
would take the conceit out OF the yonker,
and the others telling him not TO be "too
heavy on i'm, Bill"
was nearer the steps than they AID was
speedily down ON the smooth, round stones
and by the side Of the young painter. He
had methodically folded his camp stool,
closed up his drawing materials and placed
his easel leaning against the granite wall.
He was coolly unbuttoning his cuffs when |
reached him.
@You are not going to be so foolish as to
fight that giant" / said.
an ave a try at him.
1.-THE chances are that he'll kill you. Bet
ter let bad enough alone. II you could do
anything with him, which you can't the
rest would turn in and thrash you"
Il don't think 50. l nave always found
that II a man makes a fair stand-up fight
for 1t, even among the lowest classes, he will
get fair play. Thanks" This, as l held out
my hand for his cuffs and collar. Hpll just
hang my ioat over the easel. That will do
nicely, thank you"
"Where will l send your body when this
things overfr
you'll find my card liz the breast pocket
l don't think you'll need to trouble, but
you're very kind all the same"
"Don't mentlon It."
"Bil was ready by this time, one of his
friends holding his heavy jacket and the red
handkerchief that had been about his neck.
Nov, men, of course you'll Zee fair play.
But let us ave no loud talk or some fool
will get the police up above. Better get as
near the wall as you can
fright you are" said one Of the men, and
they did as he suggested.
"Maybe Tom cred better stay up atop an
give US the word IL . sees any on 'em q
comm. Give us a cough, Tom, and us can
lay by a bit"
That's a good idea" said the artist, and
Tom clattered over the stones, climbed the
steps, and leaned over where he could see
the fight. He nodded that the coast was
clear.
The big man struck out with tremendous
force, but. not hitting the agile artist, the fell
low slipped on the loose stones and came down
IN his knee, the artist standing with his
hands on his hips. seemingly a favorite atti-
tude OF his, till his enemy clumsily arose
an act OF m~agnanimity that caused a faint
hurrah from the men VIII stood against the
granite.
'We're to be quiet about this" said the
young man warningly.
When the fellow got on his feet again he
seemed enraged at his mishap, and hit out
wildly at the artist, who contented himself
with lodging the blows. As the painter
spared aroun he thrust his foot inside tho
leg OF the bargeman, who seemed at sea on
A Walking Skeleton.
Mr.. L. Springer. Of Mechanicsburg
Pa, writes: Il was afflicted with lunl