The Sunday herald and weekly national intelligencer., 1891-04-19
Correspondence of THE SUNDAY HERALD.


apartments has taken firm hold on the fashion
able girl The possession of a studio does not
necessitate that the host should be very much
of an artist. Indeed, he usually simply dab
bles at painting, buys other mems pictures,
makes his apartments q veritable house beau
tiful, and he is always pretty certain of having
the girls he knows drop in to visit him. They
come in twos in threes, and in greater num-
bers. They discourse learnedly about harmo-
nies, symphonies, and drink his tea, or choke
over his Turkish Coffee and go away feeling
that they have given fresh impetus to art,
and that in the years to come they will be
looked at in the pictures painted by this man
and greatly admired.
Next to having photograph taken woman
likes best to be painted. 1t would seem that
she ought to like being perpetuated in oil best
of all, but she doesn't. What she likes is to
have it done quickly, and the innumerable sit
tings required for painting are rather upset
ting to her She can never understand why an
artist can't copy her from a photograph, and
no matter if her knowledge of art extends, as
the darkeys say, from A to lizard, she cannot
comprehend why living model is preferred
to 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 1t has its French
room, and the picturesque girl may pose as
languid Egyptian or as 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 sphinx in every
view possible, and all the dreary, tiresome des-
ert scenes with n solitary figure, or property
camel in the foreground, and everything that
belongs to the yesterday of a thousand years
ago. It's impressive, but when it comes to
question of living in it you might as well goto
the tombs of the Ptolemys and have wake.
1t is woefully, wearifully, and wckedly de-
pressing, 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.
do not wonder in the least that the Egyp-
tians did so much killing. Whenever they
wanted to have thoroughly good time they
went out to kill somebody; whenever they
wanted to have better time they looked at
their enemies being embalmed, and whenever
they wanted to reach the height of bliss they
went and sat where all the mummies were and
looked at them. l have often wondered if
there was any connection between the Egyp-
tian and the Irish liking for funerals-if some
relative of Cleopatra's could have married an
O'Connor, or an O'Shaughnessy, or a Moriar-
ty, who introduced a little liveiness into their
funeral manners.
IN FRENCH ART CORNER.
But the French room, the artistic French
bright flowers. There are pretty little tables
with bits OF fine china upon them. There are
easy-chairs with pale 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 sphinxes, 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 at
titude, then suddenly realize how perfectly
correct her figure is and how well the colors
are laid on. You can find delight in group
of merrymakers 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, if he hadn't
the sense you know him to possess, might
have given you 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-tiring picture of
humanity that landscapes grow tiresome that
desert sands and animals pail upon one, but
that the picture of living, breathing man
or woman, presented as 1t may be, showing
intelligence and heart, is the most interesting
thing in the wide world, and one of which no.
body ever tires.
HOW TO WRITE FOR PosTERITY.
The books that have lived have been heart
stories; the pictures that We're painted genera
tions ago, and which to-day are revered, are
almost invariably portraits of men and
women; and the play that holds the stage
year in and year out, and of which the world
never tires, are not stories of motives, are not
analytical studies, but are speaking pictures
of the passions of men and women, portray
ing 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 the world 90
round, it makes everything else go round
every other planet. A Frenchman says:
"speak of love and you love-" He says
nothing whatever about writing about it, spe-
cially 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 a torment, a de-
light, bore, bother, the sole taste Of either
a. Osy4 a r.. I'm n