The Providence news. (Providence [R.I.]) 1891-1906, 1894-12-12
QUEEN OF BOHEMIA.

We were seated In one of the rooms or
pretty Partisan cafe. 1t was luxuriously
furnished apartment, arranged with ex-
treme taste. My companion was specu-
lator on the bourse "a man with exhaust
I've knowledge of the bouleyards. As we
gere waiting for an order to be placed be-
fore us casually scrutinized the apart
bnent. Behind us was a large mirror, and
written upon 10 with diamond ring was
the word Julie" Putting at a cigarette,
tnvoluntarily came feeling OF curiosity.
Who was JulieY That word was written
In an attractive feminine hand. In what
particular field OF Bohemia had she moyedf
Tho cafe was frequented almost exclusive
by by painters, sculptors, musicians and
members OF the theatrical profession whose
names were familiar TO the public. 1
called the attention Of my companion TO
the inscription and asked him who Julie
was, but he replied that the lady had Hour
ished before his time, since he had seen
the writing on the mirror when, 20 years
before, he had first come To Paris The
waiter placed before us an appetizing re-
past, and my friend, In the diverting man.
ner Of his countrymen, launched forth
with an interesting criticism OF current
topics while we enjoyed the good fare for
which the proprietor OF the place was
famed.
The next day took trip up the Seine
and stopped for dinner at a little eating
house which, from time immemorial, had
been a rendezvous Of artists. The rosy
checked waiter placed small bottle OF
wine before me on table, in which were
carved as many letters as though the place
were a resort for college students. There
were many famous names enRrossed there,
and the proprietor pointed 70 them with
pride, recalling the time when these art
lists were 4ffk Hewh- ard led the happy,
careless life Of bohemians, who had cop
per instead of silver and gold jingling in
their pockets. Suddenly my attention was
called to word carved there--"Julie."
"Who is Julie?" / asked
The proprietor replied that the name
was placed there by an artist, now re-
nowned, and led me 10 a room where
many rough pencil sketches wero framed.
This collection he priced highly, as well
he might, for there in caricature and other
wise were seen the faces of men and wom-
en- who had caused furore not only In
Paris, but throughout tho world of art
Among them was the portrait of n girl,
vivacious and charming Gxed her fea-
lures In my mind. Such was the second
step in delving into bit of the past in
Bohemia.
This delightful girl appeared in a new
role soon. i was looking over somo old
canvases In junkshop when, 10 and be-
hold, came across what was undoubtedly
an unfinished Coulter. Moreover, the face
was that Of julie. The master had painted
her in the garb Of peasant, or perhaps ho
had met her before she came TO Paris and
only painted bit of nature. She was
alone I'm the fields, and the majesty OF tho
pose and the remarkable grace and
strength of the figure were quite charac-
teristic Of the great artist. Julie In the
fields was very different from Julie In the
boulevards. Around her was the quiet OF
eventide In the distance was the outline
OF house which was the dwelling Of O
peasant. Here, however, was n cue, and
asked many French painters whom had
met IN y lentally If they had ever seen the
original of my painting, for 1 purchased
the sketch from the proprietor Of the shop
for nero nothing. But many OF the old
artists pupils could not recall the face OF
the girl. Purely out of curiosity / largely
pursued the investigation just TO see how
easily queen of Bohemia may be by the
world forgotten and pass out of sight alto.
gether.
Besides. here, Thought, was the epper-
tunity for a little romanco-the life OF
Julie, whose name was carried from one
generation 10 another in these resorts Of
talented people. Sometimes In STUDY Ing
the works of art Of an epoch Of painting
one face may bo seen appearing and roap'
pearing the features of some favorite like
Julie, who might have charmed Titan and
his friends or Raphael and his disciples.
Everywhere we turn in the old gallerlet
this memory of the past confronts us.
Now Il Is a Madonna, then n Magdalone,
but tho observer knows 10 is a real person,
OF one who has lived who looks out from
all these canvases, and he wonders what
tales Of Bohemia I'm those golden days OF
art might be unfolded II those lips could
speak. So In many places glimpses oi
Julie were seen. A charming statuetto re
vealed her In vivacious mood. She was
ono of the figures in ballroom scene.
Upon q celebrated monument an unmis
taxable likeness TO her features looked
down beni9nly. Her personality seemed
60 be thoroughly imbcddod In the art O.
Paris.
One day while In large gallery dis
covered RrcwSOine scene at the mOrguf
"a young girl lying upon tho marble slab
1t was n magnificent work, but startling
In It's realism, and yet II belonged 10 tina
period Of French art when realism was In
its infancy. But IA chill won't through m,
when I recognized the features Of th,
young girl who figured so prominently IN
tho art of the day. Was this the Julie O
whom Do Musset sang or several promi
nent novolists w1ote-not dissected, fo
they did not disscct people In u literary
manner In those refreshing dnysi The at
tendant at tho museum told bis little stor,
about the picture and the painter.
1t was painted from life, " he said IL
was an actual episode"
who was shcY'
1--WE don't know that"
One day while strolling through one o
the pretty cemeteries l camo 60 erav
marked by splain stone. Julie" It said
I"Who she was IL known 60 her friends
When she died will be remembered b,
them. When she was born we do no
Il.