The morning call., 1893-10-08

have had run, and l wouldn't have got it
either unless | had taken a bath. Yes,
my little chap. you're abrick-and-you'll
tell me your name"
circulating thus between jerky psuses
for breath, Andrew Purvis, Royal Scot
tisn a Academician. swabbed his cheeks and
forehead and rubbed his eyes with an
ample red handkerchief and patted the
bareheaded boy on the head. His daugh-
ter, swinging her broad brmmed straw
hat by its blue ribbon, and. looking at the
lad with sympathetic interest, noticed that
blood was running from the right foot and
forming in blobs between the toes.
Papa, he's cut himselfi Louk there %
And she pointed to TOMS wounded foot,
which was otherwise a sound form, such
as painter does not require to correct in
outline after the Greek model.
$50, so. my boy That's bad. You've
got the palette at the expense Of your own
crimson. Let US see what can be done"
Tom drew away with gesture of stole
Independence, as if fortified against pain,
but the artist with a kind manner took
hold of his foot and saw that the inner
side of the big toe had been rudely gashed
by sharp pebble. He washed it clear OF
grit, wrapped moist dock-stripping and
then a bit Of painting-rag round it. and
gave Tom an extra pat on the head to
assure him that all would come right and
killer he fumbled for a sixpence, and held
that bit of silver with magical efIct be-
tween his finger and thumb extended
urbanely toward Tom. The lad was en-
barrassed. He knew it was money, but
had never handled so great a fortune be-
fore. There he stood with finger in his
mouth, his large eyes shifting upward but
finding more contentment in downward
glances. and his expression one of con-
sciertious struggle against being sup
posed capable of coveting an iuexhaustible
treasure.
So Andrew Purvis said cheerily, Hey,
my lad, don't be bashful," and thrust it
into his brown hand, which mechanically
closed on the COIN 1t made Tom tnele
all over with the thought of having more
than trout for the straitened home, and he
mustered up courage TO thank the giver.
Then he became communicatiye-a verita-
bic pratter-0n the affairs of the Waughs
and how they lived, and what his own
particular concerns as herdladdie were.
The forsaken cows came again to recolec-
tion and, bounding up the bank, he saw
they were being led by Mag toward for
hidden pastures.
Il mum alt or they're in the neeps or the
BEANS" he cried, and he scudded off by a
straight short cut, with his trout dangling
from string.
'I'll be here Tomorrow" shouted the
artist, gazing after the boy. AS he turned
he looked pleased vet rumiDatiye and
muttered something about making the bow
useful. SO he picked up his palette and
strolled up back toward the ledge of rock
In the copse near the roaring linn whence
I'D an lnadvertent moment, while looking
at his canvas. it and his campstool had
sklted into the eddies beneath the fall.
Andrew Purvis fingered well into Octo.
of fho nrnf IN
ana the heather-purpled Abruchills. The
Drumlle Is tributary of the Earn, which
has the dignity of being a salmon river
much frequented by anglers but fshed to
much better purpose by artists, who find
unfalllng sustenance for the imagination
10 the llgnt- lightning and fOliage-refecting
reaches, and in the peaceful vale with its
environment of hills and peaks and ro.
mantle head at Loeb Earn. In 1850 Scott's
| poetry was dominant influence in artistic
creation Scott had created beauty in the
wilds of the Highlands where none was
| seen before, any more than in Dante's
time In the Appenine wilds of Italy; and
1t was the ambition of pictorial art to
transfer to canvas the romantic spots which
the WIZARD had lit up in imperisha bl,
Stanzas with "the light that never was on
sea or land"
From following Scott's heels the artists
have become ardent lovers of a much
broader breadth oil strath and lOftiel
mountain range or storm-girt sea cliff than
he described, and the sightseeing public
| gaze on all with the eve of faith and be
come maudlin with other peoples elo
| Quence and charms of vision. The paint tel
! to-day depends more upon his own inven
| tive fancy than u on the verbal imagery
| of the writer. He weeds his own gardeI
OF creation and ignores the parterre
planted and watered by others. But tn,
quickening love of scenery came from
Scott-in England to a great extent as wei
as in Caledonia stern and wild"
| During his rambles the painter tool