The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1891-01-28

| an CAUSED, ne Cnougut, Dy Ills tneuA.
BE cot ND and walked across the studio
10 where his work stood, and pulling off
the sheet that covered it called to Nil
bred in dramatic voice:
"Look! the masterpiece of American
sculpturel" and he pointed his finger at
the half finished statue.
They both laughed, and then Mildred
added more seriously, 'But, Clement, it
| is fine"
81 am glad you Like it," he said. 81
don't care what they think; and, besides,
what do those cads, who haven't seen
any of my work, know of my work?
Their praises annoy me. doubt if some
Of them could tell a plaster cast from a
marble cutting. They are ignoramuses
in regard to art-the most of them" and
Scott threw the sheet back over the
statue, Disguised
"They can't tell sculpturing when thew
see IT." he went on. why, il were to
tx you mp as the statue doubt even ~
they would discover the deceut;on.
And, by Jove, Mildred, IN Do III hi fx
box to look Like marble, stand Won in
it, drape your shoulder and whiten vour
hair and face. With the use of some
plaster of Paris we can make your breast
seem to come directly out from the
rough stone; and your arm-why, Mil
dred, we can take that off. You will be
the real Venus Of Milo, and I'll wager
they won't see the deception. Are you
willing, Mildred?' he asked, all excite
ment now.
"Do You think they would be de-
ceived" Mildred asked. "What joke
if they were," she went ON, catching the
spirit of his plans. "What joke!"
And so it was decided. Scott sent the
president of the Society of American
Sculptors favorable answer to his let
ter. He stated the day and named the
hour he should be pleased to receive his
aS1ist friends, and though he assured
them his statue was quite incomplete,
still he said they should have a peep at
it. Mildred and himself at once began
preparations for the exhibit, and long
before the appointed day came they were
in high glee over the prospects, for their
private rehearsals had proven more than
successful.
And then the trial and the end of it all
came. 1t was a beautiful day about the
first of June. The studio had been ar
ranged with especial care for the occa-
sion. There were bits of the sculptor's
art about the room, some pro6les in
white against black plush upon the
walls, and draperies hung in profuaou.
At O'Clock the invited guests, artists
and journalists, about dozen in num-
ber, arrived at the little summer home
Of the SCOTS ON the hill. Clement re-
eeiSed them and entertained them over
cgas with the talk of men and things
which usually interest such people. For
full hour they sat this way. He could
see plainly that his guests We're becom-
ing impatient for something more ex-
ele1ng than talk, but still he kept them
In the studio.
Some one called to see Scott. He ex-
cused himself and was gone sone min
utes. When he came back he was pro-
fuse in his apologies for his long abb
sence, but he<made up for the absence
by unlocking the door which, rs he said,
led into his work room.
1t was large room, totally unfur-
nished, into which he led them. The
sunlight streamed In through open win
uows ana rel IN srreaKs across tho
stained floor. Near the center of the
room stood the half finished statue, mon
which his work had really been done.
There were tools and chips of marble
lying about the stone as though work
had just been suspended. Extending
across the extreme end Of the room hung
a heavy, dark plush curtain.
ST suppose should apologize, gentle
men," Clement began, ''for bringing you
here to see work that is as yet so far
from completion; still, since it is by
your own request that you come, hard
ly see what apology can offer"
There was chorus of "Pray, no apol-
ogies," and Scott went on, pointing to
the statue in the center Of the room.
"This is the first study of the work You
have come to see, gentlemen. Even it
is quite incomplete; but still no apollo
gies."
And 80 saying Scott went to the open
windows, drew down the shades and
shut out the sunlight. There was an
uncertain ghmmer in the room. which
he soon steadied by lighting some re-
fector lamps. Then he stopped a mo-
ment before the plush curtain.
IT almost fear TO show you this work,
it is 50 imperfect" he said.
There was no reply.
He waited q moment and it grew OPP
preaively still. He stepped to the cur
tains, pushed them aside, looked at his
work moment, and then joined his
guests. They stood in group at the
other end of the room.
There was not a sound, not an excla-
nation Of surprise; hardly a.breath.
There before them, from what APP
peared to be solid block Of white
marble, rose the magnificent head and
full shapely bust of a goddess. It was
indeed the VEINS Of Milo. The stone
was placed SO as to give but a profile
view of the face, but the profile was d.
vine. The left arm of the figure was
broken quite of, while on the right side
the work had not progressed far enough
to disclose the broken member.
So strong was the contrast between
finished and unfinished stone; so perfect,
80 human the finished portion of the
work seemed that it was almost painful
to see the rough, uncut edges of the
marble press into the smooth surface Of
the finished breast. There was an ex-
preston about the face which seemed to
say to those lockers on, 'eWhen shall /
ever be taken from this cold stoneY' And
because they could not answer that ques-
ton they were silent.
The guests glanced from one to an
other, then hurriedly back again to the
statue, lest it should have vanished be-
fore them.
Scott stood by the side of his stone
study of the Venus and noted their as
constituent. Still no one spoke.
He was growing fearful of what this
silence might mean, and he ventured:
"Well, is it goodr His voice sounded
queerly.
There was an audible whisper.
Marvellous! Marvelousr" breathed the
guests. They said no more.
It was enough. The silent spell had
been broken. They had not detected the
difference IN clay.
And drawing the curtain before the
image of his heart Clement Scott threw
up the shades, letting burst Of blind
ing sunshine into the room.
That fall the most noticeable work Of