Omaha daily bee., 1893-12-10
WOMAN BEFORE THE CAMERA
Distinguished Photographer Uses Rare Words
in Describing the Gentler Eek
THE H%oeARTHIAN CURVE IN ITS POSE
A Sensible Protest Against the XVII oil
overstudy Among Children Tho
Clipping Bureau - Facts for
Women to Consider.

HInOU WOtntH INV ft1~ |
his camera, says the New York sun ana
during the last forty years he has photo
praphed almost all the famous women
who have been in this country.
In the first place he says that II isn't
Boul-stirring TO photograph women IN
their ordinary attire, but that q genuine
artist can revel in making negatives ot
actresses sin character" Modjeska, &C
cording to Sarony, has all the fire which
c~haracterizes the Pole. once, when
asked TO recite at a society, functloh' sue
held her hearers s%pellbound whllo she
repeated what was supposed to be inc
incarnation of tragedy. She comics sea
that she had recited only the alphabet
in her native tongue, but it showed her
power. As Rosalind Modlcska makes,
as Sarony says an "idyllic' picture.
The photographer is, in fact, rather
inclined TO draw pretty largely on the
resources of the English language when
he is on the subject of his famous %sitters.
Speaking of %Bernhardt, for instance, he
says:
sHer figure is not the apotheosis of
perfection, but, as an artist, l was
charmed with her pulchritudinous per-
sonality,"
AS il this we're not startling enough,
he further remarks that there is "a
SlnuOuS grace IL hcl hONNhShuS1
Hoparthean curve in her poses" 1t
seems that Sarah always addressed her
American photographer as mon petit
Sarony." The gentleman himself says
that she called him mon petite
Sarony," but it doesn't seem possible
that she would so unkindly mix the
genders of her speech. Wishing to
photograph Bernhard as Leah, Sarony
requested her to expose her bare feet.
"She had on stockings with fingers
for the toes, he says, ''but would not
have them.
He evidently took advantage of the
opportunity to study the contour OF the
actress feet, for he says that they were
beautiful, ever classic: that between the
great toe and the one next to it there
was q space such as the women OF Greece
had in The days when sandals were
worn.
OF Christine Nilsson he says that she
was cold. 'She could not understand
my impulsive, artistic nature, and the
result was | could not work with feel
ing" That was really too bad of Nils
son. But it was different with Ristori.
''She fired me with her tragic ANNA
ton, and my artistic nature Immediately
felt the effect" Apparently Ristori's
artistic nature was also fired, for Sarony
says:
"Why / actually saw Marie Antoin-
cite before me and not her mimic. The
veins in her classic forhead swelled, and
] have q negative to prove my asser-
ton"
OF Clara Morris he says that he had
been carried away by her work on the
stage. She shed real tears, and that
seemed to go a long ways with Sarouy.
But she didn't manage to produce tears
before the camera; hence, to her pho
tographer, she was disappointing. She
simply, according to him, had the APP
pearance. not of an actress, but of a
woman who has heart secrets and has
suffered. And as he did not find it pos
sible to photograph the soul of a
woman" he considered her unsatisfac-
tory.
OF Lolita he says: ga little actress
who has the sacred fire, is Lolita. She
is inimitable, although she has more
imitators than any one else. Before the
camera she inspires one and gives an
impression of great sincerity. Lillian
Russell is still beautiful and popular.
Ada Rehan is impulsive and naive. Her
manners, though are plain and UNI
affected, and | have no trouble in posing
her. Julia Marlowe is beautiful and
has the artistic temperament. Nine.
III oolllD III lCl tIli loIbCl >,
reminded me of q living statue. She is
grand.
~ had thought that Mary Anderson,
before the camera, would have the
superb bearing Of a tragic queen, but
she was most natural and pleasant. Mrs.
Ballington Booth has a beautiful face.
If any one can wear an old poke bonnet
and the Salvation army dress and look
beautiful, nature is simply defying cos
tune. But in twenty years her photo
graphs taken now will represent her as
more lovely than the beauties who are
photographed in the present fashion. !
do not admire the styles now in vogue,
but / suppose the eye gets used to it.
Charlotte Cushman often came to my
gallery. She had nothing finical about
her. She wasn't s%queamish before the
camera but was calm, dignitied, the in.
%carnation OF the woman who understood
herself. Beneath that calm face of hers
/ felt that there existed a will which
challenged fate to do its worst. | could
not separate the two, the tragic queer
and the woman in her private life.
~
If the voice of a laywoman could pre-
vail where that of the physician appar.
emily cannot, L would beg all mothers
on my 'bounden %tnees,' as a certain
small malaprop has it, to make a valiant
stand against that crying evil of the
day, overstudy. Our children are kill
ing themselves, writes Louise Belts Ed.
wards in the Philadelphia Press, and
we and their teachers are letting then
do it. with more lessons than they car
possibly learn. Medals and honors are
poor compensations for shattered bodie.
and weakened brains, and the averag,
school report bristles with more studies
than the children are likely to need in
the kingdom of heaven, whittier an un
due proportion OF our ambitious littl,
pupils are graduated. This has al
been said before, and better said, anl
must seemingly be said better still be
fore examining is placed in the list o
absolute barbarities.
One word, however, to these who's,
children are so unfortunate as to b.
entangled in our vast graduate-makin,
machine, her ~farcical public school sys
TEN. DO not blame the teacher for tn,
examining. 1t is not her fault that a.
iron-clad system which requires tina
she shall choke SO much mental foo
down SO many Threats in u given time
and be sharp about il, too, puts her il
the position of the Red Queen, whom tn
illustration in ''Thrcugh the Lookin,
Glass" shows dragging a breathless lii
tia Aliao tblOuph suuare after Suuara N