The record-union. [volume] (Sacramento, Calif.) 1891-1903, 1897-03-21

Which relates the long cOnlllcC DelWeeil
science and theology, by an American
writer, Professor Andrew Dickson
White. This book is free from the most
obvious faint of such literature, strong,
ex parte bias, while at the same time
it breaches the continued triumph Of
science"
Rubenstein, according to one of his
pupils who is writing a series Of ar
ticles for The Home Journal" had
horror of ambitious mothers. Il never
knew him to face one alone, and many
a time 1 have sat with him, by special
request, during the interview. Good
heavensi'' he would cry in desperation,
II am Rubinstein and I am director
of the Conservatory, but you can not
expect me therefore to make geniuses."
A dramatic version of 1.-The Pilgrims
Progress has been placed ION the
boards" in London. AS advertised it
is " A Mystery Play, by G. G. Colling-
ham, founded on John Bunyan's I'm
mortal Allegory." Rumor has is that
G.. G. Collingham is a lady who has
ventured much of her private means on
the production of the play. Aside from
the names of the characters, says a
critic in ''The Saturday Review" it
would not have occurred to me that
Mr.. Collingham or anyone else connect
ed with the Olympic production had
ever read or heard of Bunyan.
Julian Hawthorne has been printing
raJno nf I'd
Grant White He says that some knew
his foibles, others his strength, but
that few were acquainted with the man
''ah round Mr.. Hawthorne got to
have an affection for him similar to
that which one feels for woman, and
he says:
His spirit was feminene. 1t had the
feminene edge, refinement, wit, sensi-
tiveness. His love of delicate details
was feminine, and SO was his esthctic
voluptuousness, which not only had
its offset on his personal character, but,
in connection with his clear and dis
eliminating intellect, made him the
great musical and literary critic hat
he was. With these traits he was
masculine enough in his outward pre-
sentiment, and had instinctively built
up masculine fertilization round him
self by dint of that very feminine tact
and insight dwelling within. He was
bony, wei proportional and athletic
Of build; his physical strength was as
much above that of an ordinary man
as We're his inches more. I never spar
red with him; but what a reach he
would have had. There seemed to be
no end to him. One night, I recoilcct,
after q long bout at smoking and talk
ing with me and some English cronies,
White went to bed. bidding all good
night with his habitual courtesy. There
had been a running short of smoking
tobacco shortly before his departure,
and after he had gone We fell to scrap
ing pockets for whatever remnants.
since no fresh supply could be laid in
till the next day. Then, an awesome
thing happened: for the door of the
study, which was on the crack, slowly
and gently moved inward, yet NJ one
appeared. But 10, upon our strained
attention broke portent: for an arm,
clothed in white samite, mystic, won
derful came over the top of the door.
bearing in its hand not Excalibur but
a package of tobacco; and then the
smiling visage of Richard himself, who
had remembered this baglet in his
trunk. after he had got his night-dr
on; he was too modest to show himself
in this unconventional attire and had
therefore manifested himself from on
high only-and let it be understood that
his face, as well as his arm, came from
above, and not round the side. The
bag delivered he vanished silently ike
ha a,ly
night. We smoked a pipe to his health.
The art Interchange" by the pen
Of Edith Heyer, thus speaks of Antoine
Joseph Wiertz:
Belgium never understood his ideal
istic nature or untrammeled ways. She
could not appreciate the sentiment of
this artist, who refused to sell his pic
lures because he would never again
be free; because he wanted his work
about him to profit by past errors and
improve his style. Frot he sake of art
Wiertz led the life of a recluse, and
was regarded by the world as insane.
He alienated himself from his fellow
men completely. This eccentric gem
ius was born on the 22d Of February,
1906, in the quaint little town of Di-
nant. on the Meuse. In his history Of
his life We find how as a child he tried
to draw, and colored his infantile eff
forts with the juice of wild berries
growing in the woods of Dinant.
In his boyhood he took up wood
carving, and his first work was a wood
en- frog, so realistic that it deceived the
visitors to his fathers shop, who in
disgust often asked why the reptile
was allowed TO remain there. and one
man attempted to fling it out of the
window. The frog gained fame for the
boy Wiertz; and one of Dinant's
art patrons came forward and had the
lad taught music and drawing The
young genius made rapid strides. and
al fourteen was able to teach his mas
ter. At this age he produced with the
graver's tools some of the best en-
eraved work of his day Wiertz as a
boy had wonderful musical gifts. He
played with taste and finish on half a
dozen Instruments. but his heart was
given to art. Rubens became the
guiding star of his existence. It
seemed as if the ambitions of the whole
Wiertz tribe materiafized in this youth.
and from the day that he was taken to
Antwerp to study, his life became a
constant striving after this ideal. His
self-imposed vows were as much ded-
ication Of his best self as those OF a
monk.
His means We're barely enough for
the necessities of existence; he prac-
1iced pitiful economies banishing all
indulgences and pleasure from his life
In his poor little attic studio, without
fire or lights. his life was spent in com