The Hot Springs star. (Hot Spings [Hot Springs], Dakota [Dakota Territory, i.e. S.D.]) 1886-189?, 1891-10-23

costume and carrying banners,
came next, and then a float with a
company of 100 girls in white
dresses, wearing crowns of corn
husks, and carrying boquets in
their hands.
These were followed by one of
the Norwegian societies, the mem
bers marching with banners and
badges. Then came a float with
eight girls, with the national cos
tunes of Norway as worn in differ
ent parts of the country.
Two pack horses, with packs
such as r used in carrying goods
in the mountains of Norway. were
followed by a ski club on foot, the
members wearing winter apparel
with red caps and carrying their
snow shoes on their backs.
A float with a miniature peasant
home of the fourteenth century
followed, then a band, a number
of societies of Norwegian citizens
in carriages completed this
parade.
The parade was witnessed by
thousands.
The following taken from the
Sioux City Journal are excellent
pen pictures Of the features they
represent.
1HE KING OF CORN.
On the north side of the audito-
rum gallery is an allegory in corn
and pork which it is easier to adj
mire than understand. Under the
superscription of "The King of
Corn" is the world with wild sage
oceans, sorghum seed continents
and cane meridians and parallels.
Around it is a fence of corn, signi-
flying that they of the corn belt
own the earth. From the summit
of the globe, where that frigid
myth, the north pole is supposed
to stand, rises a gigantic cornstalk
with blades and ears and tassels
complete. Serenely perched upon
the top of the stalk is a fat and
complacent looking big, crowned
with something in the shape of a
milk pan heaped with what may be
taken for mush or oleomargarine,
sausage or golden coin, according
to taste. The serenity of his royal
swineship seems not to be we'll
founded, for to all appearances
there is a vigorous attempt being
made to subvert the throne. Six
or seven other hogs of various
complexions are engaged in a des-
pcrate scramble to ascend the stalk
and one less wise than ambitious
has lost his grip and is falling
backward to the ground. The
artists have evidently studied the
quality of piggishness through
human example.
The booth is otherwise decorat-
ed with comic pictures in corn and
on the whole makes a very artistic
showing.
THE TALE OF THREE CITIES.
The crowds of Omaha people
who visited the Palace Sunday
Hooked upon one picture, and,
though it is confessedly n of the
best in the Palace, had no word of
praise to give it.
1t was the "Tale of Three
Cities"
Stretching far into the back
ground are great fields of ripening
grain and a broad expanse of fer
tile prairie. 1t is indeed an en-
pire of trade territory worthy a
struggle to possess.
And such a struggle is aptly
represented. Three dogs are the
gladiators, each representing a
rival city. Omaha, Kansas City
and Sioux City are their names.
There are three stages of the fight.
In the first Omaha and Kansas
City are approaching bone which
represents the surrounding trade
territory, bristling with herceness.
Sioux City, with the look of a
strategist, is watching the ap-
preaching fray. In the second.
stage of the contest the fight is
on. Omaha and Kansas City are
shaking each other savagely, as
they are locked in a death struggle.
Sioux City looks on complacently.
There is an evident effort to sup
press his satisfaction, but it will
out. His canine eyes snap cncour-
agement to the fight. They are
plainly saying "Sick 'im!" And the
command is needed. Fiercely the
fight proceeds.
In the third scene Kansas City
is represented as lying prone in
death on the green sward. Omaha
is weak and bleeding. Sioux City
picks himself up and in a leisurely
way walks over and gets the bone.
This picture, like everything else
about the Palace, is done in grains.
A shield, trimmed in corn with an
incandescent light standing out
from a husk rosette, tells in cereal
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