The Austin weekly statesman. (Austin, Tex.) 1883-1898, 1893-05-18
PAINTERS PETS.
The Silent Animals and Birds One Meets
in Studios.

in Studios.
II the only people who visit studios
were personal friends or customers
of the rtist he would receive them
agreeably. However, these are the
most in 'requent of the painters call
ers Il ks who would not venture
to disturb merchant or any other
man in his office think nothing of in
truding upon an artists work.
In their leisure moments painters
are gregarious, and their evenings
are generally spent in the sociability
of the Century, the Lotos or the
Plnyer's club, or in reunions at the
different studios. But while the light
remains clear in the north they do
not wish to be bothered by entertain
ing idle people who enjoy spending
the afternoon in a studio.
Few painters can work except their
environments be favorable, says the
Chicago Herald. They have high
strung, sensitive nerves, and make
no success with a picture unless it is
painted under conditions of absolute
quietude. 1t is no unusual thing for
man to be so wrought up over GER
tain phases of his work that he is
compelled to take out his watch and
put it on distant table, where its
ticking will not disturb him. 1t is q
peculiar fact that the pets which you
may often find domesticated in studios
are of the same quiet manner that in
dicates the profession of their own
ers.
Many of our painters possess dogs,
or parrots or monkeys. In their
natural state these hairy or feath-
cred favorites are accustomed to
make considerable noise. But after
living for some months in the studio
dog will not bark until he hears q
knock at the door; the monkey be-
comes reflective animal that chat
ters only on convivial occasions, and
the parrots hoarse gutterals are
never heard except when his water
or seed cup is empty.
An amusing evidence of this fact
is afforded in one of our studios,
where huge Brazilian macaw sits
in imperturbable silence for hours at q
time, watching his master paint. At
intervals, however, the macaw be-
comes uneasy, and finally putting his
head under his wing he mutters:
"Shut up, you green rascal, shut up;
the devil take YOU"
This is the adjuration its owner
used to invariably address to the bird
when its talking irritated him, and
by instinct the macaw knows that
any attempt at sprightly CONVERSE
ton will thus be Immediately
silenced. Possibly the artist is too
intent upon his canvas to hear the
parrots mufIled whisper. Where
upon the bird repeats its remark in a
louder tone, and if still unnoticed
pulls its head out and shrieks de-
family: Shut up, the devil take
you"
Thus imperatively notified the
painter lays aside his palette and
carries the parrot stand into an ad-
joining room, used for storing
sketches. After the door is closed
the macaw, now free to follow its
fancy, INDUCES in an hours lively
prattle, and when its repertoire is ex-
hausted the bird is restored to it's old
place in the studio, where it sits in
dignified silence for the rest of the
day.
1t is similarly no unusual thing to
see dogs in studio building climb
ing like cats to the roof, where they
bark furiously at the chimney pots.
This does not necessarily indicate a
perverted instinct. The animals do
not dare to make any noise in the
meditative precincts Of the easel, and
they must exercise their lungs some
how