Semi-weekly interior journal. [volume] (Stanford, Ky.) 1881-1905, 1889-04-26

spect from some admirer. hence | was very
much elHted. even after the man reminded
me that there was dollar aud a half express
charges On the buA
As | am the unfortunate victim of the
ripe persimmon habit. parted with the dol
lar ana a half. AMI then with wild Acips Of
JOY aud "a borrowed Ratchet. proceeded "a
camper with the upper crust II the box
Then | recoil d, and will state. In the in
terrst of science that my rccOi very much
exceeded my propu,sive velocity In my
anguish | used strong language, for there
were 10 pcrsimmons or other deiicacics In
the box. IL contained au alleged oil paint
ing and letter from Ssitcrlcc V Jones, Of
1 Cottonwood. Ark. / Gdrtpd out of the house
10 recover the dollar aud half from the
driver. but, alas be- had swum on, ~ Ia
I speak. with tue assets.
Mr. Jones. who il oac OF the Leading art
lists OF Cottonwood, writes me as follows:
ALEN. T.. SWEET E,q. NV NJrs Guy
W. bs 'r: / send you beautiful, Oh
painting "a real gem. executed entirely by my.
self. A. you Will deserve 20 - landscape.
My object 1, sending you this gem u tn cu-
able you To compare IL with imported paint.
ings on cxhlbitoa IN your city. My friends
he. sag thai n can not be CQualicd ny any OF
/ the ola masters IN New lors.
q nyou encourage me TO DO so. SHALL move TO
I ENJOY myself very much paint ny llttlc bits %
scenery ca the Hudson, rocks and trcts and
. the like.
whatl want - your candid. not your caad,cd
op mon, Mr. Sweet
Yours truly.
SAIIERLEE V JoNL~.
Immediately sat down, aud sciz.ng my
most sarcastic pcu by the neck, wrote Mr..
Jones ~ follows.
Nh DEAR SIR Many tnauss for YOUR
/ Siudness ia sending me the work of art. on
which there was a dollar and hall unpaid
express charges While am no, an artist,
/ Still | am not entirely artess. 80 To- speak,
! Your little picture il undoubtedly gem,
and congratulate YOU ON Your success as q
/ gcmist.
\ well-eXecuted pirture Ike the one be.
fore me is a perpetual tcacaerot refinement.
A silent influence ever goes forth from a
picture Of that class. We feel its force aud
we order our lives accordingly. 1t grows
into one soul aud leaves drealnliko pleas
ure which years Of hardship and toll caa not
! ooliierate. You can send back the dollar
and half by postal note or money order.
Thanking you again for the confidence
bestowed on me. aud no hg to hear from
you soon. remain, yours truly,
ALEA f.. SwEtT.
p. 81 was jus, about TO mail this let
ter when 1 received visit from my old
friend, Pr T. MahlS,ick, Of the National
Academy Of Design. Besides being one Of
the greatest Of living painters. he j. "a
recognized critic on all matters pertaining
TO art Thinking you would like TO have my
favorable criticism corrooorated ny such
high authority. 81 omitted your picture To
him. He examined il carefully. anu turniu &
II over looked on the back ana asked:
Well. what il mr.
After telling MIN that the unpaid ex.
press charges alone were one dollar aud
q half, | explained that IL was "A landscape,
but he evidently did not believe me.
He insisted that the ecru coored mount
siu IN the background was dromedary, anu
he called my sttention TO its four legs |
msint aimed that IL WAS noun ain. bot the
professor said he had heard OF the foot of a
mountain, but no mountain ever had four
legs. He rather got the better OF me In the
argument. Think you must have inadvert-
emily painted the legs on that mountain. |
know IL placed me in very awkward posi-
ton, and the professor even intima,ed that
| didn't know any more about art than you
do, which is rather tough on me. WISH
you would be more careful Ia the future
where you put your legs.
We had agother dispute about the two
ilttN III Att lultbihuhus iif Nbuiu Ahi Ail@
derstsnd why two men should stand on their
heads and wave their legs around He
evidently mistook the limbs Of the tree for
the legs Of men standing on their heads.
He wanted 10 bet. out when | thought Of
that dollar and a half hedgec.
The professor Is not quite satisfied with
the COW. She is leaning back ON her tail,
and 40 real cow does that, hence he CON
Guided That il must be kangaroo. although
the horns bothered him somewhat. lie said
that he would compromise and take the sup
posed COW for ship, bat when he observed
the absence Of spare Ee chung TO the kan
CARGO theory, although, seen from one
stand poiLi, II looked like the execution of
Charles /.
Tue professor also expected me To tell
I'm what was the meaning Of the big red
dog on the roof Of the house. anG what the
mashed raspberry wagon wheel was doing in
the Sky, that is If the rag carpet In the back.
ground is meant for the armament.
told him that the red dog was a bird. aud |
the cart wheel was the setting sun Am | /
right aUoutit Let me know about il when |
YOU remit The dollar and IA half unpaid ex- |
press charges.
la crilicizing the picture, Prof Mahl- |
stick said something about the supcrfuity /
of the Inconsistent colOring within the con- |
fines OF the foliage on the left marring the !
tOot ensemble, while the chiara oscuro was /
altogether too diH mode and de tIoJ.
Perhaps YOU know what hc means by |
these technical terms don't. The nearest |
| ever came 10 being an artist was when |
my father proposed 10 apprentice me to a
painter anu glazier.
When spoke TO the professor about your /
coming TO New York and painting rocks |
ana bits Of scenery on the Hudson, he |
yawned and said
"Y-a-a-s, patent medicine ads, ] sup |
pose"
asked the professor IL he couldn't give !
you any hints. and he told me To write you |
TO get treated for color blindness, and 10 |
buy cheaper canvas; so you see, Satteriee, |
he takes considerable interest IN you He |
also said something about painting your /
nose. but forgot what IL was. However. !
he did say that your landscape reminded |
him of IA busted vermiion factory
1 also questioned professor in regard to
your drawing. After examining once
more very critically the drawing in your
landscape, he said that he had no doubt but |
that your chances for drawing IA turkey at