The sun. [volume] (New York [N.Y.]) 1833-1916, 1904-09-11

morning and dress. No soft kimono, no
Japanese slippers, no hair done up loosely
| to rest il from the fashion destined for
| 1t later in the day.
"No lolling about no comfort; but high
collars, hairpins and combs, shoes, belts
and gloves. Then the garish street, with
its hurrying crowds, the clash Of dish, the
clatter Of plate, the stare Of strange eyes.
and when it rains! Don't let us speak
Of the terror Of the rainy day to the studio
woman who must take her breakfast out.
But few studio women do. Some girl
artist invites you to little tea In her studio.
1t is so dainty and odd and funny-two
plates, two cups and saucers, two spoons.
There Is no room to tuck away dishes In a
studio, but the whole thing is so pretty
withal and cozy that the beginning Of your
finish OCCURS there and then.
There are many studio buildings in
which cooking is not allowed but there
are other benign landlords who permit
you to use one gas burner for your little
IS cent stove. You begin to get your little
breakfast yourself and enjoy life, but
you must above all things go in search
OF odorless things to eat. An odor OF coffee
Is not objected to, neither is that OF tea,
unless you live next to a millionaire artist,
in which case you must be careful that
your Florida W ater hasn't too much odor.
"You can have all the bread and butter
you like, provided the butter is freshly
odorless. and eggs and fruit. Well, that's
about all you can have, but it's about all
you want, anyway, isn't it, for break
fast?
still, II you can't have breakfast bacon
and broied steak how you do want them
Again your eatables must not only be
odorless in studio, but you must be noise
less. knew a great artist who moved
away from the studio OF small writer be-
cause her typewriter clicked.
And as for musical instruments. II you
twang your guitar it must be behind closed
doors and heavy curtains The same with
the scrape Of violin bow, and as for a
piano! Mon Dieul as they say in France,
but wait till tell you.
"One day when we were all engrossed In
our work the sound Of a merry piano burst
forth brilliantly-no hand organ. no street
piano. but real piano with pedal and
all.
For myself, am always ready for any
sort OF advertisement. I therefore threw
open my door and ran into the hall. Others
had done the same. We stood In punches
at the windows overlooking the court
"All the windows Of the court were filed
also. There were little rhilliners who had
left their hats, printers devils, stenogra-
pliers. all gazing at the window from which
issued the euphonious sounds.
"A man sat near the window, playing. He
played coon songs, joyously. triumphantly.
1t was good to see him. We were upon the
verge Of dancing. One or two feet did
shuffie in q clog. When he finished We
clapped.
Il was glad afterward that he played 90
loudly and SO we'll He never did 1t again.
About three weeks afterward it CHANGED
that l stood at that window in the hall,
looking across at his window. By and by
ing back over his shoulder at each step.
He raised the lid and gazed down on the
keys longingly.
then he took out his watch. look cd at IT
and put 1t back In his pocket with a sigh.
1t was not yet 4 o'clock. After o'clock
you are allowed to breathe out loud In a
studio building. Then he sat down and
ran his fingers over the keys. listened.
No sound. l leaned ON the sill far out,
listening. Still no sound.
Il Strengthened UP and confronted q
fellow artist who had ventured out In the
hall
what sort Of plano Is Iti' asked in
establishment.
'One built for studio, suppose said
he, and added: 1T seems to me to be an OK.
ceedingly piano piano