The morning news. [volume] (Savannah, Ga.) 1887-1900, 1894-05-06

] concierge. Win al dHNAAEbLlt -'AbAA
Dieu," inserted his shaggy head within
the doorway, to receive polite dismissal
and 5-franc piece for his sympathetic
and apprehensive attentiveness.
| Whatever their emotions that evening
on their way to, or while visiting, the
| handsome Mrs. Manley at her hotel ;
| whatever their diplomatic speeches or
the earnest and kindly rejoinders of the
loving and lovely mother; the two artists
bore the proud air of victOrs when re-
turning from their bold mission. They
had also received additional impressive
revelations Of character
One Of these was in the sentiment on
I the part of Mrs. Manley that, as her
daughters had always been her dearest
friends, she had regarded a settlement of
responsibility and earnest ambition upon
them by their future life companions as
of more Importance than mere wealth
Out of this and other kind reciprocal SEN
timents grew a pleasant and hopeful,
though serious, compact.
This was in effect that, when the ar
lists had been recognized by the admis-
sion of their work into either the Paris
salon or the National Gallery Of London
they should be at liberty, if the feelings
of the interested parties remained IN
changed, 10 proceed in life according to
their hearts dictatiOn.
So it was with more than ordinary
promptings to effort that the two artists
had pitched their tent among the Ara BIS
under the shadows of the Kasbah of
| Algiers, for winters study of Moorish
scenes and life.
Enraptured as all artists are with the
/ mysterious, indetinable charm of oriental
life of old Algiers, Casselearth and Mad
der at once determined upon the largest
breadth of study. First they made long
trips into the country to familiarize them
selves with the extraordinary atmos-
pheric conditions of the region. without a
knowledge of which no true painting of
Algerian scenes can be made.
They next devoted themselves to the
marvellous semi-tropical trees, plants and
| flowers. Days were devoted to so appar-
emily simple thing as a hedge of aloes
| The palm, standing like giant sentinel
| upon dreary hight, clustered in groups
along the dusty ways leading to the Sa-
hara wastes, leaning in weird isolation
beside some lonely tomb, or still rising
above shadowy court or twilight street
and reaching its majestic branches and
pointed leaves to the glittering sunlight
above the white and cleaning walls, be-
| came an exciting triumph in mastery of
its detail.
So, too, the bristling cacti, the wild pal
mettOs which spread their luxurious fans
so beautifully upon the ground, the almond
| orchards, the olive groves and masses of
the dusky orange and lemon groves, lines
of stately cypress, flowers and blossom
ing shrubs gorgeous as those of Cuba,
| and gnarled and stately eucalyptus trees
which culver and sough above the
Moslem graves, were all, in infinite varia-
tion of light, shade, position and form,
| transferred in artists memorandum
bits" to their huge portfolios.
This done, the street life and architec-
ture in all their dazzling and weird va
riety were taken up, bit by bit, piece by
piece, the separate type and tone at each
| studied, contrasted, analysed and mas
tered in detail and then in the larger and
more important way OF their true relation
| 10 each other; which finally brought
them, after four months of unstinted and
| glorious labor to a decision of subjects
| for the canvas which should win them
fame and wives together.
Jack Nader had settled upon "The
White Dove at Sunrise" For 900 years
the Arabs have lovingly called their
fair city on the hillside the white
dove" The scene was chosen from the
very spot where they worked upon the
terrace.
To the right and left in the lowest fore
ground were the copings of the roof ter
races with Moorish women in various at
titudes of idle contemplation of glorious
scenes beneath.
IL Was d GlbH Oh WulbS TOOIS. CuDOldS
and towers, sweeping down and away to
the sea, the mass of white broken now
and then by tiny courts filled with YER
dure and bloom, by awnings of strange
barbaric color, by pink, blue and saffron
shutters, the whole grid-ironed by
sinuous, crossing lines Of shadowy, wind
ing streets; and at last descending into
the cleaning white of the harbor sails,
far, far below.
Then came the opalescent waters OF
the bay. A dark line beyond, like the
horn Of a bronze crescent, showed where
Cape Matifou swept around into the sea,
whose puce like cleaning suggested a
bed of molten lava Beyond, Djurdjura
and the mountains of Kabylia, stretching
far to the eastward, with the disk of the
sun just rising above and filling all the
perspective between the mountains and
bay with dark and misty puppies, flood
ing the zenith with rosy sDlendor and lay
: ing upon every object in the great dis
lance between city hight and mountain
base tinge of the opals creamy pink
The artist had not only reproduced d
remarkable scene, but had succeeded in
conveying by it volume of suggestive
ness, which is the highest possible ex
preston of art. One seemed to hear the
innumerable sounds of an awakening
city. You listened before the canvas fol-
the muezzin's call to prayers at the
, mosques. Inc pigeon S soaring Tar down
ward, not upward, into space, concen
tered gaze and contemplation; while hall
revealed animate and inanimate life in
posture and tone told, without words, the
; mysticism, the consciousness and the
hopeless enthrallment of oriental life.
Casselearth had chosen a score of sub
jects. Among these were the bazaars
Moorish women at the fountains, Kabalye
caravans Moorish woman at the khouba
where they are supposed to pray, but in
reality visit among the graves, an Alge
rian cafe, negro sacrifices by the sea. the
Aissaoui, trial before a cadi a group OF
camels, Moslems at prayer at the grand
mosque an Algerian market scene, street
artisans of Algiers, Moslem burial, and
the flowers of the terrace comprising a
group of Algerian women embowered in
flowers and shrubs upon the roofs at sun
7 set.
But none of these filled his meas
ure of ambition. Because the artists
now realized what all should know
that no represen tation of life in the
harem has ever been painted from living
models actually existing in a moslem
household, he was determined to accom-
plisn that feat, if within human posi-
bility.
Their wise servant, a negro moslen, Mo
manned Ben Lazi, proficient in French