Morning journal and courier., 1894-05-05
TALES OF TEN TRAVELLERS.
TcoroLuDrn FROM FIRST rAaz.l

TALES OF TEN TRAvKLERs.
 [coNcLuDxD FROM FIRST rAax.1 Iaintily, "and we really, really now. don't want our home turned into 6 shop, you knowl"
 "And we don't like the smell of paint. | sitherl" added Emily earnestly. So we made it up between us to run back and make you promise, like dear good men, 1 now, to never' nevsr' never follow our s's-
 aFor they'll forget you in little while, you see;" urged Cecil comfortingly.
 ''And you'll forget them in just no time, you know;" insisted Emily. ssThere's mother callingl-promise now, dol"
 "Yes, dol" pleaded Cecil enereetically.
 "Oh, of course we promisei" they echoed rsdiantly together. "Wsd do . little thing like that for you, csrtainly.n
 ''That's just lovelyl That's perfectly splendidi" they cried in chorus, waving pretty sdieus at the smiling artists and scampering merrily away. "Oh, yes, we'll promise, eh. Harry, old boya" shouted Jack grasping Harry's hand gleefully.
 "We'n promise to see Mother Manley be- fore eight o'clock to night, or die in the attempti" retorted Cassslearth ecstatically. "There's American frankness for you, Jack. Bless the souls and bodies of those little vIxensI Don't like the smell of paint. either9 And they're tiled of art, tooa Dear, little, old, worn-out heartsl We'll,
 Then the figure painter and the land scspe artist Waltzed about the dim old Pa- risian studio until the dust was shaken from its properties" the portraits of the four fair girls trembled violently upon their ramshackle easels, and the gray old inserted his shaggy head within the door way, to receive Q polite dismissal and a fve-frauc 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; what ever their diplomatic speeches or the earn est and kindly rejoinders of the loving and lovely mother; the two artists bore the proud air of visitors when returning from their bold mission. They had also received additional impressive revelations of char aoter.
 One of these was In the sentiment on the part of Mrs. Manley that, as her daughters had always been her dearest friends, she had regarded sentiment of responsibility and earnest ambition upon them by their future life companions as of more impor- tsnce than mere wealth. Out of this and other kind reciprocal sentiments grew Q pleasant and hopeful, though serious, com pact.
 This was in effect that, when the artists had been recognized by the admission of their work into either the Paris salon or the National gallery of London. they should be at liberty, If the feelings of the fntoroatnd n A. proceed in life according to their hearts, dictation.
 So 1t was with more than ordinary promptings to effort that the two artists had pitched their tent among the Arabs under the shadows of the Kasbah of AL Riers for winters study of Moorish scenes and life.
 Enrsptured as an artists are with the mysterious, indefnable 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 famil.arizs them conditions of the region, without knowl- edge of which no true painting of Algeri- an scenes can be made.
 They next devoted themselves to the marvellous semi tropical trees, plants and flowers. Days were devoted to so sppa- rently simple thing as hedge of aloes. The palm, standing like 8 giant sentinel upon dreary height, clustered in groups along the dusty ways leading to the Saha ra wastes, leaning in weird isolation beside some lonely tomb, or still rising above shsdowy court or twilight street and reaching it's majestic branches and pointed leaves to the glittering sunlight above tn. ! white and gleaming walls, became an exci u nr rynh In N& lko kHll So, too, the bristling cacti, the wild pal mettos which spread their luxurious fam | 50 beautifully upon the ground, the al mend orchards, the olive groves sni | masses of carob-trees, the hedges of Bar
 bary fig, the dusky orange and lemor | groves, lines of stately cypress, flower
 end blossoming shrubs gorgeous as thos
 of Cuba, and gnsrled and stately eucalyp
 tus trees which quiver and souRh above th,
 Modem graves, were all, in infinite varia
 tion of light, shade, position and form
 transferred in srtists' memorandum "bits
 to their huge portfolios.
 This done, the street life and architec
 ture in all their dazzling and weird vari
 ety were taken up, bit by bit, piece b,
 piece, the separate type and tone of eacl
 tered in detail and then in that large
 and more important way of their true re
 lation to each other; which finally brough
 them, after four months of unstinted ant
 glorious labor to decision of subject for the canvas which should win then
 fame and wives together.
 Jack Maddsr had settled upon 'sTh,
 White Dove at Sunrise" For a thousand years the Arabs have lovingly called thei
 fair city on the hillside "the white dove.
 The scene was chosen from the very epo
 where they worked upon the terrace. To the right and left in the lowest fore races with Moorish women in various atti tudes of idle contemplation of glorious scene beneath.
 It was city of white roofs, cupolas and ! towers, sweeping down and away to the sea, the mass of white broken now and then by tiny courts filled with verdure and bloom, by awnings of strange, barbarit color, by pink, blue and saffron shutters | the whole gridironed by sinuous, crossing lines of shadowy, winding streets, and al last descending into the gleaming white of | the harbor sails, far, far below. Then came the opalescent waters of the bay. A dark line beyond, like the horr | of brouzed crescent, showed where Cape
 Matifou swept around into the sea, whose puce-like gleaming suggested 8 bed oi \ mountains of Kakylis, stretching far tt
 the eastward, with the disk of the sun just
 rising above and filling all the perspectiv.
 between the mountains and bay with darl
 and misty purples, flooding the zenitt
 with rosy splendor and laying upon every
 object in the great distance between city
 height and mountain base 8 tinge of tn,
 opal's creamy pink.
 The artist had not only reproduced a re
 markable scene, but had succeeded in con
 veyfng by it a volume of snggestiveness
 which is the highest possible expression
 of art. One seemed to hear the innumsr
 able sounds of an awakening city. Yor
 listened. before the canvas for the muezzln'l
 call to prayers at the mosques. The pigeons, soaring far downward, not up
 ward, into space, concentered gazs and
 contemplation; while half revealed sni
 mate and inanimate life in posture and
 tone told, without words, the mysticism
 the sensuousness and the hopeless enthrall
 ment of oriental life.
 Casselearth had chosen c score of sub jects. Among these were the bazaars, Moor
 1sh women at the fountains, Kabalye cara
 vans, Hoerish women at the khouba where
 they are supposed to pray, but in reality ! visit among the graves, an Algerian cafe
 negro sacrifices by the sea, the Aissaoui,
 trial by cadi. e group of fcamels, Moslemf ! at prayer in the grand mosque, ,an Algerian | market scene, street artisans of Algiers, | Moslem burial, and the flowers of inc ter. race comprising group of Algerian women | embowered in flowers and shrubs upon the roofs ct sunset.
 But none of these filled his measure of | ambition. Because the artists now real. | tzed what all should know, that no repre-.