The daily chieftain. [volume] (Vinita, Ind. Ter. [Okla.]) 1898-1902, 1899-05-01
IN PICTURES AND PRINT.
Advantages of the author Artist Over tho
Mere Writer.


The artist author has something
that he wishes to tell, and TO do this
he has at his command two modes
of expression, each of which supple
ments and supplies the shortcom-
ings of the other. Where the lin
itation blocks the way of words he
can imagine out his idea with his
.lencil. When it fails, words can
supply its need, and SO he can pre-
sent his idea before the world at
tremendous advantage.
1t seems as if he must be better
fitted than any one else for that
presentation of what he means. lie
has lived and moved with his char
acters. He has eaten and drunk,
slept and wakened with them, and
to him as to no one else they are
visible personalities. But let him
describe them, however minutely
and accurately, and they will not be
impressed on the mind of the casual
reader as they would be if he saw
them in picture, or, if the reader
is imaginative enough to clothe
those characters with a body, it is
probably not at all what they were
really meant to be.
How intensely interesting it
would have been if Poe, like Blake,
had been able to imagine out some
of those strange visions that filled
his brain not only in words, but in
actual lines as well, or if Cervantes
had left us some idea of how Don
Quixote and his Spanish squire real
ly looked, however roughly drawn
they might have beenl
1t is under the Byzantine en-
perors that the earliest manuscripts
of modern Europe were produced,
and they exist in great numbers and
are of surprising splendor. A timid
suggestion may indeed be ventured
that the Byzantine scribes were less
careful of their calligraphy than of
their paintings. That may be true,
and it may yet remain true that the
Byzantines had a splendid cal
ligraphy of their own and splendid
notion of how to adorn their pages.
The Irish monks of the sixth and
seventh centuries, the English
monks of the ninth century and the
French of a somewhat later time
were the fellows for beautiful let
I.tering. The splendid manuscript
which is called by the name of King
Knut and which lies in the British
museum contains lettering which
is so beautiful in its strange modifi-
cation of the classical Roman letter
that even the splendid renaissance
work of five centuries later scarcely
equals it. Every one knows the
Gothic" character of the twelfth
and thirteenth century manuscripts,
character which the modern Ger
man typographer has preserved for
our sins and to punish the eyes of
those who would fain study German
thoroughly, but few persons know
the pre-Gothic character, the beau
tiful lettering founded on the an
tique forms, which was preserved
in the north and in the south, alike
in Lombardy, in France. and in
England, down to time at least as
late as the year $50. Take any in
itial page of a tenth century manu-
script, northern or southern, and
see how much more beautiful is the
writing than are the figures o. men
and animals which are supposed to
adorn it. The ignorance shown in
drawing these visible objects is
great, and the absence Of any power
over their forms is really ugly and
offensive, but the power of abstract
form, of making a letter into a
beautiful thing, is, however, SO great
as to be quite inconceivable to race
of people like ourselves, who have
lost the trick of decorative design. -
Independent.