The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1904-06-05

the construction the view cannot be
obstructed by the heads in front AS
in every branch of art, every man, ev-
cry horse, and every monkey, does that
| which he processes to do at all, perfectly.
| Particularly 1 remarked that the
| trapeze in this circus seemed less
hazardous than ever before, although
the tricks were of infinite variety and
peril, probably because of the confidence
and wondrous skill of the performers.
| The horses are not so fine assin our
| American exhibitions of this kind; in
deed no specimen of horsefiesh on this
earth ever compared with Mahomet,
the color-bearer in Forepaugh's bat
talon of equine heroes of hattie for
| the laurel. In years gone I have seen
a glow upon the imperturbable Visage
OF Grant as he stood under the canvas
where Mahomet displayed his grace
| full proportions. I have known even
| General Sherman to borrow all the
neighborhood brats to take to the cir
Gus that he might have an excuse to
| look again and again upon this splendid
creature. I wonder where Mahomet is
| now?-probably wandering in some
! horse heaven where "oats, peas, beans
and barley grow in perennial fields,
and cherubic hostlers rub him down
perception Mahomet might have APP
peared white, and so might Cleopatra.
His matchless covering of fine creamy
hair, rather thinly scattered over a skin
flushed with a tinge of pink like the
cheek of a blonde maiden, may only
find complete likeness in a work of
art exhibited in the Industrial Museum.
1t IS a landscape carved in ivory, set
against background of sea shell lin
ing. 1t represents winter scene, and
the frs and pine needles are slightly !
touched with frost or snow; yet still the !
work is so enthusiastically delicate as
to almost defy the effort to discern the
traceries with the naked eye. The !
backgrounds rich in the mysteried sky |
tints of rose, and azure and amber, |
CLEANS through the ivory foliage, and |
even the forelock of the deer with his
upiifted antlers-precisely as the del |
icate quivering fesh-covering gleam- |
ed through the creamy layer of hair |
which adorned Mahomet, the prince of |
horse-f1esh.
English folk denounce Paris as a |
wicked city, and would ignore her alto
gether, only that she enters rather /
largely into their interests and pleas |
ures. For example: shopkeepers have
only to affix the magic characters |
Paris to their goods, and even unsafe
able wares disappear as by an Illusion.
A trip to Paris before the opening of
the London season is among British
society regulations; and once there,
zone must do as they do-one cannot
appear singular, you know" therefore
Sunday designations, and gray hours
for sleep, and ffirtations, and long tar
rying from home are all in order, and
the readiness with which an English
man or woman falls into pleasure is
only natural at last. Indeed it is not
reserved for the senSuous alone to love
Paris There is no form or phase of
the art idea but may be found in diff
ferent grades and degrees even up to
the very most spiritual form of express
sion or suggestion. Offerings from Of
fenbach and Mendelssohn discourse from
the same repertoire without discord,
and while vices may everywhere be
found for the seeking, perhaps Paris
offers no unusual stimulus to such an
end. She is, in deed and fact, only
city of infinite possibilities and in her
system is to be found nothing compuls
DRY except her dinner courses. Her
galleries of art paintings, albeit that
they do remind us that the old masters
mostly lived in warm climates where
much clothing was superfluous, are
Diana's temples compared with modern
opera houses and theaterS of other and
more puritanic cities, and even the
palace of Luxembourg, situated in the
Latin Quarter, and the resort of wicked
students, exhibits nothing of a more
lascivious character than an excellent
painting of Cleopatra and her nurseling
asp.
There are in this same gallery OF the
a few pictures of strik- .
ing interest. One represents Jane :
Shore. the unhappy mistress of King =
Fourth, driven to the streets,
pursued and overtaken by the mob. i.
The flesh upon her bosom and arms,
not hidden by the wild tangles of her
auburn hair, seems just beginning to
purple in spots where bruises have been
inflicted and her half-savage, half
face turned upward arrests
he rugged boyish fist, closed over an
aggressive stone, and stays the blow.
An old woman who has evidently
thrown dirt, comes nearer to get
5etter view of the white, scared thing,
md her purpose goes out as visibly as
f the canvas had caught the trick
If continuity and change Near this
wonderful painting-the work of F'leury
we find one by that charming artist,
Rosa Bonneur- 1nIS Is nay HdA NeS'
ng scene, and as we stand before 1t we
almost catch the scent of the new
nown grass or snatch at the dropping
Iaisy to revive its stricken life. The
the unities, the perspective
f her oxen and horses, outstrip mathe-
natical calculation, and set the COM
ASS at defiance. While we sanctioned
he wornanIy discretion which confined
his genius to the field she occupied
With only LanGseer and one or Two
,ainters yet We were always longing
o see her fixed upon more ambitious
eights. even at some peril OF fall
sut it seems just there that the fan
yould hurt us less than it would have
urt the artist, so we left her TO her
fields and glorious horse
airs. with their gorgeous sunsets. the