The morning news. [volume] (Savannah, Ga.) 1887-1900, 1891-04-20
BAB'S BRIGHT BABBLE.
ECEOEs OF SPRING LIFE IN GAY
AND BUSY NGW YORK.

The Fashionable GIRL in a Stuoio-The
Egyptian Craze in Art Dens--.n a
French Art Corler-How to Write
for Posterity-Tte Wise Woman in
Love-When Love is Most Lasting
How socisty Women Keep Well
bow to encourage the People aad
Make the Word Look SAMMY.
Copyright, 1917
NEW YORK, April 1S.-The usual spring
desire for visiting studios aud dining in
bachelor apartments has taken firm hold on
the fashionable girl. The possession Of a
studio does not necessitate that the host
should be very much Of an artist. Indeed,
he usually simply dabbles with painting,
buys other mems pictures, makes his apart
ments a veritG bic house beautiful, and ne
is always pretty certain of having the girls
he knows drop in to visit him. They come
in twos, in threes, and in greater numbers.
| They discourse learnedly about harmonies,
symphonies. and drink his tea, or choke
over his Turkish coffee, and go away feel
| ing that they have given fresh impetus to
art, and that in the years to como they will
be looked at in the pictures painted by this
man and greatly admired.
THEIR CoUNTERFEITs IN ART.
Next to having a photograph taken, a
woman likes best to be painted 1t would
seem that she ought to like being perpet-
uated in oil best of all, but she doesn't.
| What she likes is TO have il done quickly,
and the innumerGble sittings required for
painting are rather upsetting to her. She
can never understand why an artist can't
| copy her from photograph, aud no matter
I bar Gnn cd ~ Ac do
| keys say, from A to lizard, she cannot COM
prehend why living model is preferred to
| a paper one. But to return to the studio
which my young woman often does.
| STUDIOS WHICH AFFECT THE EGYPTIAN.
1t has its Egyptian room and it has its
| French room, and the picturesque girl may
pose as a languid Egyptian or as a chic
| Frenchwoman, as seems most desirable to
| her. The Egyptian room has its walls hung
| in red-deep burning red, and the cushions
| are the same color, with here and there, by
| way OF contrast, yellow one that shines
| like the sands Of the desert. The pictures
represent the sphynx in every view possible,
| and all the dreary, tireyome desert scenes
! with a solitary figure. or property camel
! in the foreground, and everything that be-
| longs to the yesterday Of a thousand years
| ago. It's impressive; but when it comes to
a question Of living in it, you might as well
| go to the tombs Of the Ptolemys and have
wake. 1t is woefully, wearifully and
| wickedly depressing; and the young woman
who seeks the brightness of the French
room has healthy frame of mind, and is
| likely to find great deal OF pleasure in life.
| The EGYPTIANS IDEA OF A GREAT TIME.
| do not wonder in the least that the
| Egyptians did so much killing. Whenever
| they wanted to have a thoroughly good
! time they went out to kill somebody; when
ever they wanted to have better time,
| they looked at their enemies being en-
| balmed and whenever they wanted to reach
| the hight Of bliss they went and sat where
| all the mummies were and looked at them.
| l have often wondered if there was any con-
/ nectiCn between the Egyptian and the Irish
! liking for funerals-if some relative of
! Cleopatra's could have married an O'Con-
nor, or an O'Shaughnessy, or a Moriarity,
| who introduced little livelineSs into their
funeral manners.
IN A FRENCH ART CORNER.
| But the French room, the artistic French
room, has its windows filed with boxes of
bright flowers. There are pretty little
tables with bits Of fine china upon them.
| There are easy chairs with pale rose and
white cushions upon them, and there are
| delightful yellow covered books here, there
and everywhere; while on the walls there
are pastels and water colors, and oils that
are pictures of people, not sphynxes, not
| sands of the desert but what you and
| like-people. men and women. You can
stand in front of pretty ballet girl, laugh
for ten minutes over her coquettish atti-
tude, then suddenly realize how perfectly
correct her figure is and how well
the colors are laid on. You can
| find delight in a group of merrymak-
ers who are having picnic, and, after you
have noted each special figure, it suddenly
dawns on you how well the trees are done,
and you think that man, IL he hadn't the
| sense you know him to possess might have
given you a tiresome old landscape with
not figure in it. When will makers of
| books and makers of pictures, and makers
| of plays realize that what mankind wants
| to read, and see, and hear Is the never
firing picture of humanityl That land
Scapes grow tiresome, that desert sands and
animals pail upon one, but that the picture
| of a living, moving, breathing man or
| woman, presented, as it may be, showing
| intelligence and heart, is the most interest.
| ing thing in the wide world, and one of
which nobody over tires.
HOW TO WRITE FOR PosTERIrY.
The books that have lived have been heart
stories; the pictures that were painted gen
erstions ago, and which to-day are revered
are almost invariably portraits Of men and
women and the plays that hold the stage
year in and year out, and of which the
|
are not analytical studies, but are speaking
pictures Of men and women, porGraying
their sufferings and their joys, telling Of
envy, hatred, and malice, but also Of hope,
goodness and love. Most of all about love-
My dear soul, it not only makes tho world
go round. it makes everything else 60
rouud-every other planet. A Freuchman
says. "Speak of love and you love- He says
nothing whatever about writing about 1t,
specially about typewriting it, so one may
rush in and not altogether count ones self
fool
THE WISE WOMAN IN LOVE.
Love has been defined as torment, a de-
light, bore, q bother, the sole taste of
either paradise or-the other place. 1t may
be taken for granted, however that given
two people in health, with a keen enjoy
ment of sunshine and the spring weather,
attracted for some reason TO each other,
with charm of novelty about this attrac-
tion-for the love of to-day is curiously
enough always different from the love Of
yesterday-the most perfect Of love will be
possible if only one loves, and that
one the man. A man very quickly
wearies of the woman who loves him.
For awhile alteration is delightful
then 1t is like too much sweet and cloys him
A woman is wisest when she has a sincere
affection for a man, and her wisdom is that
OF the serpent when she always keeps an
| atf in rosarvo 20 hin, apj ba a. 1890.