The Virginia enterprise. [volume] (Virginia, St. Louis County, Minn.) 1893-19??, 1901-09-20
A Revelation in a Poster.


ing to sense Of beauty and Of divine
things. Shoeblacks and errand boys
stood agape before the boardings, and
felt within them STRINGS Of ancient for
gotten feelings untouched since
the time when they had responded to the
glory ct some primeyal sunset. The cab
men and ombnibus drivers caught
glimpses Of that pale witchery at every
corner, and went about TRANSPORTED
London with serious, joyous faces.
1.-The remarkable poster" said The Orb
of Light, which mas created so great
sensation in London today has, from a
distance, the appearance Of marble pill
aster with porphyry-colored capita! and
base. On nearer approach we find on
the capital, in artistic letters Of a darker
hue. browning Revival and on the
base, 'Philippa Fetherston as the Queen
in a balcony
1.-The wonder Of the poster lies in what
have roughly designated as the pilas
ter On the surface of this, rich and
smooth as marble, our famous actress is
drawn. leaning out over golden balcony
toward the spectator. The golden bal
cony-a dream Of exquisite design-the
OF her eyes, which have the mysterious
intensity Of Watts 'Dweller in the In
nermost, and some suggested mystery of
pupple> i'll the marble floor of the bal
cony; these are the only indications of
color. For the pearly evening sky behind
Is atmosphere, not color-the sky, III
tense with yon first trembling STAR And
painted in color, but in some strange
medium between marble and soul.
The artist has given us more than an
exquisite picture; he has given us more
than a supreme allegory; he has given us
power, OF understanding to realize the
marvellous genius OF Philippa Fether-
stOn."
When Philppa Fetherston herself
came suddenly face to face with the
poster it affected her with shock al
most OF horror. 1t was as if some in =.
most self, some faraway white thing had
been brought into fiery day for the world
to stare at: But presently she forgot
everything in delight at the imagination
of the conception.
A little group Of children, who had
stood spelbound fascinated by the
length III time that the tall, pale lady
looked at the picture, dispersed as she
got into her carriage and drove away.
She was put down at the office Of the
advertisement contractors, but was in
were obtainable. The artist had refused
to allow any to be placed on the market
though, no doubt, the demand for them
would be great and large prices obtain
able.
But, doubtless" said Philippa, 'he
would allow me to have 4 copy, it would
be an-an inspiration to me-
Would you care to go to his work
shop?' said the clerk; lit is not far from
here. think it is your best chance
His workshop" murmured Phlippa
to herself as she drove awuy-''Blooms.
- ILL ~,
fist is poor, unsuccessful? But, it so,
why refuse to sell copies to collectors?
1t will be rather terrible to see this man
who has read me through and through
like book-this unknown stranger who
has had his fingers on the very pulse OF
For a moment she hesitated in her pur-
pose. Suppose she were to meet some
vulgarian, some cad. some underbred
weakling? How could she reverance
the sanctities Of her being il such a one
had explored them?
But then. such men are not gifted with
all-penetrating insight. He might, how
ever, be drunkard or an opium eater
with moments of divine perception Or
he might be an intellectual giant, an ar
fist in soul as we'll as in profession, keen
ly alive to the beauty and grandeur Of
the world, and a true man besides.
At any rate, she must know.
Philippa examined the board at the
door: Fifth floor Mr.. Josh. Whitley"
With some trepdaton she began to go
up the stone stairs. She reached the top
at last. There was the implanted door
with the name "Mr. Josh. Whitley" upon
it. She hesitated-knocked. An answer
came, and she went in.
She distinguished herculean form
Boaras stood Sv0'f round t Ses nnpap eTe
walls, stacks of paper lay on the floor.
One ricktty chalr-a board on trestles-
that was the only furniture.
Seeing that his visitor was a lady, he
put it into his pocket and opened the
window at the top. Then he brought
forward the chair. Philippe sat down.
The atmosphere gradually cleared.
He was in his shirt sleeves and had on
a large apron, such as house painters
wear. His face was massively built and
furroweu with lines. 1t was illumined
at every corner by an extraordinary alert
ness. She did not find anything to say,
but she was glad that she had come.
He stood looking at her Neither Of
them felt any constraint. The great
poster that made the link between them
was pinned on the wall facing her. Pres
emily her eyes turned in its direction, and
he spoke:
You have come about this:''
She nodded. How did YOU know?'
Know what?
''All that you have made that poster
say
piled. for years.
"You have seen me on the stage-you
have seen me acting" she faltered, but
here you have painted me my real self,
rot my actress-self.*
II OWNED it," he said, from the first.
Ia all your impersonaticns it was you,
and you only. that saw. Tides of divers
emotions flowed through your acting
tides whose source was the universal
heart of things-but all caught and We're
colored by the peculiar tint Of your in
dividuaity.
LET me show you this portfolio of
drawings. They should have made my
fortune long ago had l allowed them to
be published. They are all of you-you,
philippa Fetherston-as You made the
great poems and tragedies Of the stage
shine through your flesh and blood
This was the first time l saw you-
Miranda-years ago now. I was begin
ming to lose faith and hope; you gave me
the key that opens the gardens of Beauty
and Truth.
See here-Agnes. in Ibsen's Brand
To think that there should still be sin
and seltishness in the world after that
~