davidaulloa/AmericanStories huggingface dataset:
The Butler weekly times. (Butler, Mo.) 1881-1918, 1911-04-13
Slump in Missouri Pacific.

New York, April 10.-In a very
dull stock market to day, with no i'm
portant movements in price Of any
other stocks, Missouri Pacific shares
dropped two points to 48 7-8, making
a decline Of sixteen points from the
highest price reached two months
ago, when the project ofreiuvehitniR
the Gould system by putting It innev
hands, was inducing extensive tp1 -
Of the Stock. -, stY
The Butler weekly times. (Butler, Mo.) 1881-1918, 1911-04-13
A St. louisan Succeeds Blair.

Jefferson City, April 1l.-Attorney
General Major announced the ap.
pointment Of Campbell Cummings. a
st. Louis attorney, as assistant attor.
ney general in place of James T..
Blair of DeKalb county, who was ap
pointed as one OF the five supreme
court commissioners.
The Butler weekly times. (Butler, Mo.) 1881-1918, 1911-04-13
Notice of Final Settlement.

Notice 10 hereby given 10 all creditors and
others interested In the estate Of Henry 7. Britt
Of sad sstste, intend to make Gnsi settle
M mt thereof. ct the next term OF the Bates
County Probate Court, In Bates county, state
Of Missouri. 70 be held at Butler, Missouri, on
the 9Th day OF May, 1911.
JULIA A. BRITT,
1T Executrix.
The Butler weekly times. (Butler, Mo.) 1881-1918, 1911-04-13
FREE
ADVICE
TO WOMEN

Women suffering from any form of
illness are invited to promptly CON-
municate with Mrs. finkham at Lynn,
Mass. All letters are received, opened,
read and answered lT women. A vo.
The Butler weekly times. (Butler, Mo.) 1881-1918, 1911-04-13

Nature makes the cures
after all.
Now and then she gets
into a tight place and
needs helping out.
Things get started in
the wrong direction.
Something is needed to
check disease and start
the system in the right
direction toward health.
SCOTS Emulsion of
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phosphites can do just
this.
1t strengthens the
nerves, feeds famished It's
sues. and makes rich
blood.
yoe aAIR NJ AfLpRucomUn
The Butler weekly times. (Butler, Mo.) 1881-1918, 1911-04-13

man can freely talk
Ct her private i'll
ness to a woman ;
Gus has been es-
~ 'isEed this cc.l-
hoc::ce be tween
MIS-. Pink..am and
lie WON en- OF
America which has
never been broken.
The Butler weekly times. (Butler, Mo.) 1881-1918, 1911-04-13

I'',N siNkhhM never mas she pub
lished a testimonial or used letter
without the written consent of the
writer, and never has the Company
allowed these confidential letters to
get out of their possession, as tho
hundreds of thousands of them in
their files will attest.
Out of the vast volume of experience
which Mrs. Pinkham has to draw
from, it is more than possible that she
has gained the very knowledge needed
in your case. She asks nothing in re-
turn except your good will, and her
advice has helped thousands. Sur"'v
any. woman, rich or poor, should be
glad to take advantage of this gener-
Gus offer of assistance. Address Mrs.
Pinkham, care of LYDIA E. Pinkham
Medicine Co., Lynn, Mass.
Every woman ought to have
lydia X. Pinkham's 3O-page
Text Book. Tt is not q book for
general distribution, as it is too
expensive. VI is Free and only
obtainablo Dy ,re:;o Write for
Is tc1av
The Butler weekly times. (Butler, Mo.) 1881-1918, 1911-04-13

Daily Thought.
A firm resolution can make reai
ties of possibilities Napoleon.
The Butler weekly times. (Butler, Mo.) 1881-1918, 1911-04-13

Must Advertise.
, Advertising is nothing more than
exten el speech n people want to
speak to the uaillicns they must ad.
vertise.
New-York tribune., 1911-01-01

have Just traversed, pages wherein a
critic only makes himself the more SER
viceable to the reader through the mod
esty and urbanity Of his approach. Or
he might turn to the brief paper in
"scribner's Magazine" IN which Mr.. F. ].
Mather has recently discussed Author
1 ity in Art Criticism" We like the calm
and convincing way in which such au-
thority is justified, but most Of all do we
appreciate this we'll balanced passage on
the critical function:
The art critic, whatever the impression
70 the contrary, lays no claim 10 esoterlc
Qualifications Unlike the poet, ne Is hol
| born but made. His curiosity in the dlrec-
/ tion Of art determines his vocation; the rest
| is training and experience. His plea 70 He
layman is merely this: II have studied ana
lived with certain beautiful things mat /
| think Il is to your interest TO ENJOY. nave
made II my aim TO pick out the real thlneS
| from the sham. the finer from the poorer
Such experience as ! have gained IN these
pursuits is at your disposal Other critics
az certain points will surely differ from me-
| II Won are going deeply into questions OF
artistic value YOU will need the opinion or
many critics, and will learn 10 use these
covnselors where they are strong, ano 90
Rut the case for you probably Is simpler
namely: In matters of artistic taste can the
experience Of O trained man serve you, OF
are you entirely contented with your pres,
lent sense that you know What you IKE
NV business is to help you 10 like the bet
ter things, the things that thousands OF
cultured persons have found worth Whlle
NV authority. II we really must use these
big words rests merely on that accumulated
experience and enjoyment OF which ! hap
pen 10 be the spokesman. But, or course, II
you are wholly satisfied with the art you
now like and with that which, unaided, you
are going 10 like in the future, you natu-
rally will not need my professional services,
and we have only TO part friends. Merely
do my profession the Justice TO admit tnat
because you individually feel no need OF II.
IL is not necessarily a calling inherently su-
perfuous or ridiculous"
This I take IT, is about the position the
average art critic would assume when asked
the nature of his authority. II differs IN no
respect from the attitude Of the self-re-
specting doctor or lawyer toward mis- public.
This is the spirit in criticism which. in
season and out OF season, we have advo-
Gated for years When we have vehe-
mently protested against such an atti-
tude as that Of DR.. Bode, for example, In
the controversy over his wax bust, il has
not simply been with regret for the spe-
cifc step taken in that matter. but with
solicitude for the still air OF delightful
studies" which Is the only air in which
to follow the lure OF art. Art is the most
beautiful OF the humanities. Its influence
Is lost when self-conceit and pomposity
intervene. There is no study more dell
cate, more ennobling. or richer In the
most refined pleasures. than the study
which the art critic pursues. In it he
will be the surer OF his reward as he
abides by that standard OF modesty and
gentleness which Mr.. Mather has so ad-
mirably indicated.
New-York tribune., 1911-01-01
CRITICISM.

What Is Art?" This question forms
the title of little book by Mr.. John c.
Van Dyke, published by the Scribners.
in which he offers us the fruits Of studies
he has made in the technique and crit
icism OF painting. He starts with an ex-
cellent observation. For twenty years" I"
he says. there has been discussion Of
art from the point OF view Of the con-
noisseur, the collector, the museum d.
rector. II seems we are IN some danger
OF forgetting that there IL another point
of ,iew-that OF the artist, the pro-
ducer." This is the point Of view from
which he has composed his brief. read
able chapters. In them he has some
"a full things 10 say. He exposes the
yalue OF technique without falsifying Its
relation to the large purposes Of art He
Justly emphasizes the point that while
the model is OF Importance 10 painter
no painter worth his salt relies simply
and solely upon the model. be nnds
fault with the art critics who lose them
selves in pedantry or indulge too freely
in conjecture. and he Eliminates against
our latter-day taste, which fills house
with antiques" but neglects the SUBJ
stance and spirit OF the present time.
All OF these arguments make ior en-
l;ehtenment. But their force Is seri-
ously diminished by the authors peeVish-
New-York tribune., 1911-01-01

judgment. He has, too, the courage TO
praise where praise is. in the studios at
least, little unfaslionable Some artists
have thought It clever TO dismiss the
great "Assunta" as one OF Titian's least
interesting performances. Mr.. Ricketts,
knows that II is. in divers ways. an ex-
traordinary manifestation OF his power,
and he says so.
This is, In short kindling book, one
10 take Titan out of the museum as Il
we're. and put him before US as a type
whose color and tone. brushwork, drafts
manship. light and pictorial faculty
possess an energizing force for the mod
ern painter. Mr.. Ricketts, has delved
deep into the secrets Of his technique, as
is shown not only in his criticisms but in
half dozen pages devoted to the mas
ter's pigment and processes In all these
investigations he has been aided by what
we can only describe as an imaginative
intimacy with Titan as a man. with The
New-York tribune., 1911-01-01

Masterpieces" one OF the most sympa-
thetic and luminous works Of painterlike
appreciation in the literature Of art. His
essay on the great Venetian appears IN
The series Of Classics of Art" published
mere by the Scribners, a series particu-
Iarly useful because IL gives full-page
Feproductions Of most if not all OF the
works Of the painters chosen for discus
s'on. There have been some first rate
volumes in the collection, notably Be
iuete.s "Velasquez" and Or. BODIES
Florentne Sculptors." This Titan" by
Ar. Ricketts, is not only as good as any
o. lis predecessors, but IL takes place
apart, thanks TO a temperament and an
experience giving him a quite special
mutation into his subject. There is ex-
hAarating evidence Of this in the very
Vpenmg sentences Of his introduction
4he great quality by which the Vene-
'lan charmed the lover Of pictures" he
says is usually described as color; 1t
might more ftly be described as the
'ehoefing Of the appearance OF things
eceording TO specially emotional view
" uem; or as a specially tenacious hold
sDoh their outer aspect. by which their
''cai characteristics Of color, relief and
ne become intensified and heightened.
~As venetian temper in contrast with
New-York tribune., 1911-01-01

out OF an eclectic taste. Mr.. Converse
liked an amusing subject and he liked
good landscape. He was interested IN
the prose of art and in its romance.
Hence, the presence IN this collection OF
military subject by Berne- e-Bellecour
and bit OF sentiment By Aubert, ball
scene by Defregger and page from
Moorish life by Benjamin-Constant. an
anecdote by Vibert and a group OF Bar
bizon landscapes. Corot. Rousseau. Diaz,
Dupre and Daubigny are all represented.
end there are pictures from kindred
types, from Jongkind and Fromentin.
Two or three American works appear.
among them an interesting souvenir OF
Winslow Eomer's early period Some Of
New-York tribune., 1911-01-01

First indicating the formalisni which
they had come to displace. he continues
as follows:
The figures in these pictures are con-
ceived as IL on business Of their own,
within the pale of their charmed environ
ment; they are no longer, as in the earlier
Venetian art, models or portraits OF holy
persons posed against rich background.
7 Within the composition and its music OF
line and mass they stand as symbols or an
exquisite train Of associated experiences
and ideas, in which the glow or coolness
OF the light upon the colors by Its per-
sistence heightens the impression, thus IN
tensifying the effect aimed at or suggested.
In the technical rendering or each part an
entirely new set Of d, -htful impressions
form and tone are now heightened or ex-
pressed BY the quality Of the touch, now
suave now sharp, now liquid, now De
fined; in delicate stroke or tran OF PAM
suggesting both form and even movement
BY developing the resources of the prac-
tice OF oil painting Titan has raised the
effectiveness Of that blend between the
passionate and mobile frame OF mind OF
the Renaissance, giving motive 10 his
work and that Venetian alertness in see
Ing things. which might seem 70 some TO
re in itself a sufficient end. Titan has
achieved one Of the most definite results
IN art. He therefore ranks amongst those
inventors Of a new phase such as GlOtto'
Oonatello. Michelangelo, Raphael; Rem-
DTdnQt, ana SO dDONt men SCiiAONA44NN -
EQUALS in personal or original poverty
his felicity in circumscribing the possioili-
ties of a great convention.
we understand the force OF this asser-
ton when we realize what men have con
stituted themselves Titian's pupils; Ru-
,bens, VelasqueZ. Van Dyck ana Reynolds
we realize how great is the debt we owe
10 Titan when we note that Watteau, too
through the intermediary Of Rupens, must
be reckoned among his descendants; the
Frenchman's art being doubiy derived from
that OF Rubens, and from the Venetian
pastoral. d. Win the new hleTpIe eta-
tive method of Titan IL was possible 70
represent even a base or humble individual
in the beautiful web or pattern OF light
and shade and paint the artist weaVes 10
content or delight the spectators and so 70
nrAnare the way for work like that OF
Velasnuez which is not creative. but only
New-York tribune., 1911-01-01
nr Debt to Titian-Criticism
The Converse Pictures.

rvery one knows the old fieer. When
=. ,ew book comes out 1 read an old
- If the principle is not without its
e.,,s for the reader IL has also an obvi-
anplication in the sphere Of art. One
.,av be never so enamoured OF modern
-o,nting and yet derive immense stimu-
,us and edifcation from communion
,ritb masters Of the past. 10 say nothing
of the pleasure which they so richly give
rs At this opening Of the new year.
ssith a multitude Of new pictures in pros
nect. It is surely not undesirable to pause
New-York tribune., 1911-01-01

chronologically and discussing their au-
thentic!ty. their relation to this or that
phase Of Titian's development and their
present state Of preservation. It Is
long business. which might strike the In
different layman as making rather
tedious reading, but for the connoisseur
OF technique II is full OF stimulus. The
layr1an, too, is remembered at frequent
intervals, in which the author returns
70 the more general style OF the passage
quoted above and floods his subject with
light. Neither does he forget the in
tensely human aspect Of his masters
whole history. Titan had gusto, If ever
man possessed it, gusto for all the
things Of life. We see him In this book
going up and down the world with a
burning avidity for the materials out OF
which to make beautiful pictures. Nat
urally the social movement Of a ma
terialistic epoch caught up in its train
painter so magnificently qualified to min
lister to sensuous taste.
THE ARTIST IN HIS WORLD.
He had splendid patrons. From Venice,
in the heyday Of his career, he passed to
the court of Ferrara and later we find
him in the service of Emperor and Pope.
urged to ceaseless activity and the re-
cipient Of endless honors. There is a
famous anecdote OF his meeting with
Michaelangelo at Rome. Thus Vasar
tells it:
Now IL CHANGED that Mchaelangelo and
Vasari going one day 10 seek Iltlan IN
the Belvidere beheld q picture which he
had iust then finished Of a nude. figure
representing Dame many or those
present beginning TO extol the work (as
praiaed II not little when, all having left
the place. and talking oil Titian's work;
Buonarroti declared that the manner ana
coloring Of that artist pleased MN greatIy;
not study drawing more, FOR II TINS ar,
tjst 3" said he had been aided by art ana
knowledge Of design as he Is by nature, ne
would have produced works which none
could surpass, more especially In initiating
life, seeing that he has fine genius and
graceful, animated manner.
Admirable is the authors comment on
this episode. He shows US, in the first
nlace. that a verdict on Titan cannot be
based upon the particular picture that
Mfchaelangelo criticised, and then he
clearly exposes the difference between
the different men, accounting for the
Florentine's point OF view and hence put
ting his words in just the right per-
spective. This is characteristic of Mr..
Ricketts, It is. above all, for its fneness
that we value his criticism, for his sub
tie exposition Of the shades to be dis
crininatingly observed in the study of
Titian's development. He IS no mere
hero worshipper. on the contrary, in the
chapter relating TO the change in Titian's
New-York tribune., 1911-01-01
Matters of Hrf

that Of Florence Is less constructive than
ecstatic." THIS is enough to show the
reader with what insinuating sympathy
Mr.. Ricketts, approaches the heart Of the
matter.
1t Is the painter In him that thus pro-
rels him in the right direction. and that
by the same token. enables him to write
history without pedantic heaviness Of
hand. Nothing could be broader or more
penetrating than his brief survey OF the
conditions by which Titan was confront
ed In his youth. More than one great
artist was already in the field. Giovanni
Bellini and Carpaccio were by them
selves enough to give lustre TO a school.
But even those masters were allied IN
spirit to the ideal at which Mr. Ricketts,
very suggestively glances in the terse
saying that from the first Venetian
painting was hardly distinguishable from
the applied arts-alnsost better described
as crafts-a branch Of the gilders trade"
The majestic and sonorous Madonnas or
Bellini and the artlessly humanized mar
ratives of Carpaccio. of course carry
Venetian painting far beyond the juice
less immobility Of what Mr. Ricketts, apt
ly calls "the charming incrusted works
Of Jacobello del FIore" But II was left
to Giorgione and to Titan enormously to
extend the boundaries OF the school and
so to give the painter, in our modern
sense. his true scope. that their influence
upon technique has not yet been ex-
hauSfed
New-York tribune., 1911-01-01

interpretative. The technical means, now
developed as a new element Of beauty in
the painting OF easel pictures. have gen.
orally obtained ever since as an ideal in
the art Of painting.
In the bulk Of his book Mr.. Ricketts,
devotes himself to searching comment
upon individual pictures, taking them
New-York tribune., 1911-01-01

to understand that he is complaining
simply and solely Of matters OF news
published in the papers, then he has no
business dragging the subject into an
essay on art criticism AS a matter OF
fact. he conveys the impression Of man
who would throw contempt upon news
paper criticism but has not quite the
courage explicitly TO do so. It is one
more manifestation Of the stupid cant
about journalism being in some sort an
inferior branch Of the literary profess
New-York tribune., 1911-01-01
A DOSE OF HER OWN MEDICINE.

The wit Of Mrs. Cavendish Bentinck- tho
daughter Of Maturin Livingston, amused
Newport during the summer.
Newport laughed with special enjoyment
over her reply 10 a fashionable palmist, who
said 10 her:
Tell me- madam, 90 you think I'd sue
ceed il l went TO London and opened
parlor in Old Bond street?'
"Ah. my friend, az 10 that" Mrs. Cav
endish- -Bentinck replied. you'd better look
at your own palm ana find out.'
New-York tribune., 1911-01-01

for a little while in the company of one
Of the cid giants Of painting. Taste is
only purified and enriched by subsection
10 the steadying influence Of some Of
those works which in their glorious per-
fsction shine like beacons across the
ages. The reflection is always opposite.
but in the present instance it happens to
flow from particular interest in the brill
iant study made by modern artist, with
a peculiar enthusiasm for painting as
painting, Of the genius of an old master
New-York tribune., 1911-01-01
THE CONVERSE PICTURES.

There is now open at the American
Art Galleries an exhibition OF the mod
ern paintings which were collected by
the late John Fl. Converse. OF Philadel-
phia. The sale Of these sixty-seven can
vases is set for next Friday evening at
Mendelssohn Hall. 1t viii disperse one
OF those bodies OF pictures. very familiar
in this country, which have been formed
New-York tribune., 1911-01-01

manner after he had painted the Sacred
and Profane Love" the "Cristo della
Mcneta," the "BacchanaP' and the Casa
Pesaro altar piece, change not precisely
for the worse but still significant Of a
certain declension. he gives US perfect
example Of appreciation tempered by
New-York tribune., 1911-01-01

the paintings in the Converse collection
we reproduce to-day. 1t may be added
that the American Art Association pub
fishes an edition de luxe Of the cata-
logue lavishly illustrated with fine pho-
togravures. 1t is limited TO 175 copies.
y
New-York tribune., 1911-01-01

daily movement OF his life and with his
habits Of thought and feeling. II is as
though he had been able to throw him.
self back into the sixteenth century
New-York tribune., 1911-01-01
TITIAN.

The master is Titan and his celebrant
Is Mr.. Charles Ricketts,, long known as
a clever craftsman in London and well
established in critical repute some years
ago by a book on THE Prado and Its
New-York tribune., 1911-01-01

10 whom all Of our exponents Of tech
nique, consciously or unconsciously. owe
e heavy debt
New-York tribune., 1911-01-01
HIS MODERNiTY.

The two young men, making their way
in Venice against tradition desperately
hard to dislodge. were pioneers and lib
orators. They did no violence TO the pre-
vailing sentiment as regarded subject.
But, looking out of the studio window.
they enlarged the Venetian conception Of
nature, and, returning to their brushes,
they gave pigment, for its own sake.
chance. In their work we have the rec
ords of "the pleasure Of mere eyesight-
the flash Of light upon a tree, a nesting
farm, or some delicate field flower" But
we must cite at greater length the DELI
cate analysis through which Mr. Rick
etts exhibits the rise Of new vitality in
the paintings with which Giorgione and
Titan first bewildered and disturbed and
then captivated their contemporaries at
the beginning Of the sixteenth century.
New-York tribune., 1911-01-01

sion. We have heard this nonsense be-
fore. when the journalist turned novelist
or playwright has congratulated him
self and been congratulated by his
friends upon taking up creative work"
There is type OF mind for which book
covers are sacrosanct and talismanic.
We wonder II Mr.. Van Dyke, when he
has written art criticism for q newspa-
per, has been "bowled over" by the pict-
ures sold at high prices and has de
voted much space" to things OF popular
interest. We wonder II the printing Of
these chapers Of his gives them, in his
opinion, qualities Of good faith and COM
petence which they would not have pos
sessed II they had been printed in
newspaper. He is welcome to the easy
retort that these comments appear in the
columns Of a newspaper That is where
they belong.
The trouble with Mr.. Van Dyke is
that having noted certain developments
In the art life Of America which need
correction he has set out TO preach a
sermon on them, and, in the mood Of the
person who thinks that 1T is time for
some one TO speak out" he has spoken
out at the top Of his voice until he has
risen to the key OF the excited scold.
The point Of view Of the painter is pretty
nearly lost sight of in his attack upon
the critics, historians and collectors who
displease him. His book. as we stated
at the outset, contains some wise say
ings. But their value is discounted by
an acerbity for which he has no war
rant 1t is not thus that the cause Of
art Of good taste, is advanced.
New-York tribune., 1911-01-01
THE TRUE CRITIC.

II Mr.. Van Dyke Is at a loss to under
stand why his present mode Of writing
on art leaves so unsatisfactory an i'm
preston he might do worse than turn
to the pages by Mr.. Ricketts, which we