The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1892-05-15
PICTURES OF BATTLE.
Interview With Fred Villiers,
the Famous War Artist.
skobeIen, tho Great Russian Soldier,
Admired rman-Truthfulness OF
Rudyard KIpIing's Sketches.

LoSpos, May Especial Correspond
ence. II spent delightful day once at
West Point. Much of the great kindness
which / received at the hands of Colonel
Wilson and his staff of officers / owed to
the charming memory left in their minds
of the visit of the celebrated English war
correspondent, Fred Villiers, who, at their
special invitation, delivered there lecture
upon his war experiences. If only our
English visitors would behave as well and
show as much good taste as did Mr.. Viii
liers, the reception given by the kindly
Americans TO their English cousins would
be as universally charming as they would
always wish to make it. But alas, our
men do not always behave as well as
they might do. and consequently the in
nocent have now and again to suffer for
the fault Of some ill-bred person who
seems of deliberate purpose bent upon
leaving upon his hosts as bad an i'm
preston as he possibly can. Luckily for
me in succeeding Mr.. ViIliers as a visitor
to West Point, / had merely to endeavor
as best l might TO act up to the reputation
he had lett behind him. 1t was, therefore.
with much pleasure that 1 recently paid
visit to Mr.. Villiers in his charming
studio in London. Let me describe the
man and his surroundings. AS entered
the studio found him hard at work illus
trating the remarkable series of articles
which is now appearing in Black and
White; or, The War of 1892" Mr.. Villiers
is man of about 40 years of age, strong,
good looking, weli-set-up man, bear
ing in his face the marks and men,
cries of many curious experiences and
VII ttnI lao hn r. ind
man this, very bright and energetic A
soldier, you feel instinctively, to his very
finger tips. The studio Itself, full of the
relics of many battlefelds, tells its own
eloquent story. At my right hand stood
the luncheon basket of King Theebaw of
Mandalay. On the wall were the helmets
of many nations. The spears of Abyss
sinia, and of the field of TeI-el-Ke
rested against latticework screen which
divides the room. The cruel Afghan
knife so frequently alluded to by Rud-
yard Kipling sent shudder through
ones heart as one looked upon its gleam-
ing blade. Latticework from Egypt,
lacquer and looking-glass from Burmah,
tapestry also from Burmah, representing
scenes in the teak forests, were there in
rich profusion. A pathetic interest at
mummy coffin, from which Mr.. Viliers
himself had seen the 5000 year-old dead
body of the girl occupant thrown out to
moulder III the dust of modern Egypt. All
these things and many more occupied my
attention whilst Mr.. Villiers filled and lit
a pine which he told me had been given
him by his celebrated confrere, Archibald
Forbes, who had smoked it all through the
battle of Plevna, as he rushed hither and
thither. bearing charmed life and utterly
regardless of the bullets whizzing about
his head. "Now, Mr. Villiers,"I said II
want you to tell me all your ex-
periences. and how you manage to
guns with which we are all SO
familiar" 81 first went out" replied he.
''to the Servo Turkish war in 1876 as
war artist for the Graphic. | was all
through that campaign with the exception
of the last battle, when | was recalled and
then requested to go with the Turks. IIav-
ing been with the Servians for eight
months, l thought this was rather risky
business. So when l got to Constanti-
nople, having made the journey thlther
with Mr.. Power, the Times correspondent,
/ met man who was known to the sultan
who gave him n trman which took him
straight to the front. | Joined him and
went TO the front with nm. However,
arrived there, there was an armistice. and
l saw no fighting l then joined the Rus
slams in their great war with Turkey,
which broke out shortly afterwards"
How do you sketch on the field of bat
tie, Mr.. Villiers?"
We'll. take very small sketch books
with me- so small that l can hold them
in the palm OF my hand. These / con-
tinualiy use in taking notes of costumes,
weapons and sometimes position. So that
| can hardly be observed, and so avoid
suspicion on the part of the people there,
| have To be very quick about 1t, | can tell
you. Then | have large sketch book
about my person which use directly an
engagement commences and the attention
OF the people is distracted from me and
the excitement of all that is going on
around them. The details OF costume.
figures, etc. that | have previously been
engaged upon whilst on the march. | can
work up on the spot, which is not always
the case with other artists. who take a few
notes and trust 10 filling in their work
from memory after the fight is over. OF
course, beng q war artist, YOU are ma
turally expected by the officials 10 do your