davidaulloa/AmericanStories huggingface dataset:
Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-06-08
GEORGE c. STIEDD
He glared. twirlins his mustache furi-
psvv.ss,t. ma ~ s.-n. na,..rs : o.,

He glared. twirling his mustache furi-
ously.
'For the map. Come, little man. you're
keeping me waiting-me, Pilon.'
looked him over. His thick-set figure
evidenced strength. but on his face we're
all the signs of brutal dissipation which
betokened that strength undermined. No
doubt in his native city he had been one
make trouble for the police. who jostle
! respectable people. terrorize weaklings
and bully his own kind. In Paris he
would have developed into an apache. but
he had never got to Paris. and therefore
remained lazy. intolerable braggart He
1t was who had let loose the story con-
corning my betraying France-at Del Her
valles instigattOn, of course. Evidently
he expected no long resistance. ! would
provide him matter for another boastful
tale.
81 am very busy this morning, my good
Pilon," I said, quietly. You'll have to
come another time" And I fell again to
painting.
once. Be quick! Run and fetch the
map.
I paused. pretending stupidity. But
that makes three times you've asked for
it,
ASKED. Piion orders"
Ordered then-three times. as say.
My quietness deceived him. which was
my purpose. He came nearer, struck a
pose intended to create fear. ! imagine:
he stood with feet apart, one thumb
| hooked In his belt. q threatening look
upon his face. This latter I returned
mildly.
will you go. boy. or shall Pilon kick
you to the house?"
did Senior Del Hervalle send you?"
"Senor Del Hervalle? No. The tap
ped his breast-"I act alone"
I believed him. The envoy had not
guessed how vigorously the seed he plant
ed would thrive: Del Hervalle had shrunk
| in the fellows estimation while Piion had
grown. / filled out the pause by draw
| ing the brush along the seam.
1.-THE boat should be finished first mon
sieur,'' I considered. aloud. $50 that the
sum will dry the paint"
Boat. ha. l am to be kept waiting
/! for a boat mon Dieu." And he burst
| into peal of raucous laughter.
II fear So
"Pilon to wait on q boat, ha, ha!" He
Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-06-08

W the NduOuAl STt1licfy OI All
Gently. Henry c. Perkins has loan
~ ed a group Of ten notable paint
ings; Murray Crane, a group Of
five. which are likewise of exceptional
interest: Mrs. James Lowndes has loan
ed several. and other generous collectors
have also made contributions to the sum-
mer exhibit. The group of pictures loan
ed by Mr.. Perkins has been hung In the
last of the series of galleries wherein
the National Gallery collections are now
shown at the National Museum.
In the center is to be seen a picture
of mother and child. possibly Madonna,
which Is painted somewhat in the style
of Van Dyke. and yet is found rather
reminiscent of Rubens. 1t is with little
doubt of this period and school. The
co,oring is rich and pleasing, the quality
of color being peculiarly fine. The
mothers face Is up-turned as in prayer
or alteration. and the child, instead Of
being seated in her lap in the conven-
tionai manner. is standing upright in an
attitude far from passive. The child is
perhaps more interesting than the
mother, but both are not only we'll but
apparently lovingly Transcribed. The
picture has been painted with skill and
tracts and holds the observers interest.
There is something suave and gracious
about the work of the painters Of this
period which was borrowed from Italy
and transmitted to England, but in the
course of time seems to have been lost:
Probably the reason Is that beauty OF
line, wealth Of color and ease of execu-
ton went far toward producing this ef-
feet, and that when these CHANGED not to
be combined with structural strength
they degenerated into mere prettiness,
which Is at the best insignificant
There is interesting contrast between
this Madonna by some unknown painter
and the portraits which hang to the right
and left-the one by Jan Victoors and the
other by Mierevelt. both Dutch painters
of the early seventeenth century. The
Victoors comes from the collection Of the
Princess Mathilde, and show young
woman Of refinement, IL not special dis
tinction, standing in front Of an arched
doorway, the vista through which Is OBJ
scured by shadow. Beside her is little
table on which Is seen a book heavily
bound and with metal clasps. The lady
herself wears a simple gown of black silk
with a panel or underdress Of dull red
The hair is very plainly dressed. and
Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-06-08

of Venice by Canaletto. The Wilson's are
characteristic and engaging. both rather
small and presumably early canvasses,
classical in style and toneful in color.
They are scenes on inland bodies Of water
"a river or a Lakeland make no pretence
of being naturalistic. In each the land
scape seems to have been deliberately
built up from a given point and with a
definite purpose. Figures and architec-
tural monuments are introduced to lend
interest: the foliage is painted with
minutiae and yet after fixed rule. In
the one there ia a group Of little figures
in the foreground woman and two men.
to the left of sarcophagus from which
the lid has been removed. story is sug
gested. but not fully told-possibly in the
painters day the mean ng may have been
obvfOus-today, however, one may inter-
pref 1t to suit oneself The technique of
these works is scarcely less interesting
than the subject matter. The pigment Is
la1d on rather thfnly. so the effect pro-
duced is not unlike that Of tapestry. And
these represent in realty the beginning
of landscape paintng-the dawning of
consciousness Of the beauty of nature In
this particular field rather than that OF
figure painting we have in the last GEN.
tury made marked progress. And yet it
cannot be said that we have nothing to
learn from such masters and pioneers as
Wilson and Consta BILE, both of whom We're
great artists as we'll as great painters.
MOST notable among the loans made
AvA by Mrs. Lowndes are a portrait and
a figure painting. The portrait is of
Washington-a copy Of the Gilbert
Stuart portrait in the Museum Of Fine
Arts. Boston. which was made by the
painters daughter. who. 1t is said. did
no original work, but acquired considera-
BILE skill copying the works of her fa-
Their The other is picture by Merle.
French artist of the past century. rep
resenting a good little sister tending her
baby brother. who lies sleeping in a era
die by her side. The little maid wears
a white waist and blue skirt She Is
about ten or twelve years old. and has
a sweet face full of character The
baby in the little wooden cradle is a
hearty chi d, vital even in sleep. There
is. of course, a sentimental appeal. but
besides this there is to be discerned
very good painting. The light and sha-
dow are well distributed, the effect Is
good, and the brushwork throughout is
sustained in strength and skill. A Dutch
painter would have undoubtedly rendered
the same theme a trifie more artsticaly,
showing perhaps a little more of en-
vironment and giving little less impress
Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-06-08

reached forth a hand and seized my
shoulder. Il see l must kick you up
yonder, after ALL
AS he clutched me I settled myself
against the bottom Of the little craft,
planted my heels In the sand and stiff
ened my body. This would presently
grow amusing. thought ]. Pilon pulled:
l did not bulge. The veins sWelled on his
effort: his lips parted and drew back
like an animals, disclosing his yellow
teeth.
IT am very busy today, Pilon," l re-
marked. land the boat must be finished.
Come tomorrow and then we'll see.'
''Scelerat!" he Kissed, jerking furiously,
you shall lick my boots"
Tug as he would he could not make
Roadway. Passion biazed up in him: he
released his grip and struck a blow at
ing forward. l seized him by the waist
tripped his feet and flung him on the
sand. Like a wildcat he was up, his
hand flew to his coat and he ripped
out a knife. Before I could dart behind
the boat he leaped at me, lodged the
paint brush which I cast at him, and
plunged forward. AS an amusement sud-
denly had doubts of this encounter; the
man was a savage at best, and now all
his primitive instincts to Stay were
aroused: he was beyond reasoning. Side
stepping. struck my fist at him, scarce
ly with aim. glancing blow, which land
ed only on his shoulder. though it check
ed his rush: yet 1t gave me the instant I
needed to Jump In. seize his wrist with
my left hand and throw my right hand
about his body. The advantage was on
his side, for in turning l had lost my
balance. SO that when we came down
upon the sand I fell underneath. Still.
for the moment / breathed easier. He
could not use his knife. nor could he
gouge my eyes. since held his left arm
against his body His fierce breath was
In my face, his red-rimmed eyes glared
into mine, and I was we'll aware that no
halfway measures would now serve. I
set myself to work with all the skill l
had acquired In wrestling to overturn
him and secure the mastery Wrapping
my leg about his and bringing 1t to bear.
sinking my fist into his back as hard as
/ was able. and suddenly doubling back
the hand which held the knife. l put
forth every ounce OF my strength. A
gasp was wrung from his throat; his
teeth set.
Then suddenly slipping my free hand up
and around his jaw and crooking my
q Japanese wrestler-I gave his head a
twist that he would long remember, hold
ing his thighs as In q wise. His body re-
Taxed. q groan OF pain escaped him, ana
over he fell. on top. / still gripped his
jaw: twisting HE face into the sand.
Drop the knife" ordered.
An instant he hesitated then let It fall
I sprang up, seized 1t with one hand and
his collar with the other, and commanded
him to rise: before he could gather HIM
self to resist further l hustled him round
the boat and hurled him into the water.
where he dropped, splaShing on hands
and knees. When he rose and faced me
! was ready to meet him, an oar held
poised as Q weapon.
Move farther out, I ordered. Sullenly
Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-06-08

that there is not a potentate on earth to
whom he is not able to tell a few things
about his own exalted self. This effect
appears like the very seed of our present
democracy, a-sprouting.
HoosIER CHRONICLE. BY Mere
dith Nicholson, author OF 1.-The
Siege of the Seven Suitors." etc.
Illustrations by +. C.. Yohn. Bos-
ton: Houghton Miffiin Company.
social-political being Meredith Nicholson,
in clean and expert fashion. clips one of
the motifs that, in endless repetition and
orderly arrangement. make the COM
plete design Of modern American life.
This he names 'Hoosier' chronicle. So
clearly representative does it stand that
he might as well have called it Badger
or Buckeye" or any other name of east
or west. This fresh and robust story
follows the fortunes OF Morton Bassett,
suave and astute manipulation Of men
twentieth century Machiavelli includes a
raw and bulky political enemy. honest,
youthful disciples. a social setting Of dis
tinction, and a past-the familiar COM
plement of personal political situation.
Morton Bassett's past Yields an I'M
acknowledged daughter, and. by way of
this youthful error. much of the COM
p!exlty and suspense of the matter In
rand II story wherein every person
is Milling to perfection his part in a Sig
nificant situation may be said to have
either hero or heroine. then Morton Bas-
sett and his unclaimed daughter, each
going their separate way may be said to
stand as such here. In this wholly notable
group Aunt Sally Owen-unconquerabl
cotemporaneous Aunt Sally-shines con-
spicuous If Mr.. Nicholson had done no
more here than to make Aunt Sally. read
ers would have been deep in debt to him
Tor another really interesting human be-
ing In the world. But he did do much
more, to fill this big and vital story with
the real American life Of our year Of
grace 1912.
THE CHARIOTEERS. BY Mary Tap
pan Wright. New York: D. Apple
ton & Co.
A Few years ago one looked eagerly
for Mrs. Wright's short stories, with
their Incompatible atmosphere, their
yirile and romantic action. their we'll nigh
Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-06-08

he drew back until the water washed
about his knees. Now we can discuss
the map calmly
He spat out brine and made no answer.
except to glare at me: he was no longer
cap had fallen off when l pitched him
into the water and now fioated q little
distance off. his unkempt hair wet and
bedraggled, the curl soaked out of his
mustache, he remained only an enraged
brute. One side Of his face yet showed
red where it had been bruised by the
sand.
Finally he waded few steps. as if to
make land beyond where I stood but
this I had no intention of permitting.
STILL holding my oar aloft, l kept pace
with him in his advance, moving along
the beach when he moved, hating when
he halted. Neither of us uttered q word /:
speech was unnecessary. for each knew
the mind Of the other. and the game
was played in silence and with exchanged
looks. Twice he sought to outdistance
me by speed In order to effect his escape
from the water. though, Of course. he
met with disappointment: In the water
he was at disadvantages: the. current
impeded his progress. held his feet. At
last he perceived that I was determined
to balk him, and, giving up further at
tempt. set out to wade to the village. or
If not, SO far until I grew weary Of ac-
companying him. l chose to go even to
him the whole way. he wading the dis
tance knee deep In water. Hereafter he
would not be able to boast before the
fishermen that he would cut my comb.
We were first seen approaching by a
number of children, who ran to meet US.
surprised at the spectacle OF two men
walking In such fashion: and they trailed
along behind me in whispering wonder.
Then came Gaspard, the boatmaker, and
three 'or four men who had been calking
boats on the sands.
"Hola: why do you walk in The
Throat?" one shouted at him.
"He prefers it, I said. His head is
hot, but his feet are COOL"
A burst OF laughter greeted the sally.
The men grasped the underlying signifi-
canoe Of the picture; Pilon had Dragged
how he would trim my feathers. and. be-
water like boat! 1t was humorous: the
fishermen cracked Jokes and shouted adj
vice how one could best walk on water.
Pilon answered nothing. He moved
straight ahead. until we came to the
beached boats. where l brought an end
to the comedy.
Come again tomorrow and we will dis
cuss the map further l stated. In con-
clusion.
He shook the water out OF his hair,
scowled and made straight up the street
for the inn. Brandy Is good for damp
feet. watched MIN. then turned to the
men and children; they were an ex-
pectant audience, standing in a circle,
waiting until / should be pleased to ex-
plain the farce
"Pilon is great and wise man. said
l. "Lavouche appears to be disturbed
about certain paper which I own, and
Pilon said to himself that he would rem
der q service to Lavouche. he would
assure the mind Of Lavouche. he would
bring hither the document ne, Pilon
Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-06-08
10 k!E&KEAIMg< IlTT4R4AGvRREE 90 ARyT

perfect workmanship. Now comes a long
story by this author. one rich in all the
qualities that marked the earlier and
shorter ones. In dramatic energy and
lifelikeness Mrs. Wright here develops
the sum of a woman's debt to an out
ragged world. In poignant circumstance
and issue Octavia Fanshawe pays So
ciety. in a neglected solitude, for her af
front to it. She pays the man for de-
votion never really rendered, for a fidelity
never possessed. for a place in the world
only indifferently filed. She pays his
issolute wife. abandoned long before her
time, for a usurpation never made. She
pays the naturally thoughtless and ex-
acting children Of this woma for q home
that they never lost. In a word, she
pays everything that imagination can in
vent and everybody who can trump up a
claim. She pays 1t all, too. with a royal
last, seemingly in sheer pity, Mrs. Wright
flaws the iron logic Of life and circum-
stance and art by granting Octavia Fan
Shave a shadowy compensation. A very
fine and absorbing story Of real life.
THE PRISON WITHOUT A WALL. BY
Ralph Straus New York: Henry
Holt s. Co. Washington: Brentanos.
A quiet. well wrought story Of aca-
demic flavor. moving with its hero out
OF the cloisters Of Cambridge into the
May fields Of Vanity Fair-and back
again into this safe and permanent
retreat for an unworldly minded man.
Through English scenery Of surprising
charm the story grows. by way Of the
social and public life OF It's hero. by his
love and marriage and betrayal, to his
retreat from a world in which, by
deepest nature. he has no place. This
full and mellow romance is made Tor
large hours of thoughtful tasting
leisure
ENSIGN RUSSELL. BY David Gray,
author of mr.. Carteret," etc. New
York: The Century Company.
All but one Of these seven stories deal
with the adventures Of young Russell Of
the navy, who conquers cowardice in a
grapple with a blockade runner in the
Philippines. while temporarily command
ing cholera infected vessel. From these
experiences comes man older than his
years. with confidence and grit. and in
Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-06-08

little cap Is worn. matching the white
cuffs and lending effect to the full ruche
which takes the place of the collar. Every
detail is faithfully portrayed. and the
whole is to an extent stolidly. IL not dryly,
painted. There Is no suavity, no rich color
harmony. no winsome grace, and yet the
painting carries conviction: 1t is vital.
personal and extremely engaging.
The same qualities characterize the por-
trait by Mierevelt. though the costume
here is more elaborate. The lady who is
portrayed must have been person or
considerable means. for her gown is both
vet embroidered with gold. A gold chain
Is around the waist, the ruche at the
throat Is wide and very full, the lace OF
the cap and cuffs is sheer and handsome
Again every detail is exquisitely rendered,
but without loss Of unity in effect. This is
great painting-greater it would seem.
than we have today. for there Is both fin
ish and force. For some reason, hard to
explain, this combination In modern work
is rare. To be sure. in portrait the
question of likeness Is of chief concern
and, after this. or in conjunction with 1t.
artistic quality in rendering. In modern
work oddly enough. these elements are
often in conflict, but never apparet1y in
the works OF these great Dutch masters
TO be sure. we have no way of confirming
the correctness OF the likeness, but there
is something in the honesty Of the paint
ing and the personality interpreted which
give this assurance. Such works as these
may well be studied.
There are other portraits in this .,.oup
which are Of special interest ,,', for ex-
ample, OF the Countess C Clermont by
Sir Joshua Reynolds, which shows subtle
modelling and charming color, low-toned
and cool: another Of a red-cheeked boy
by John Hoppner. and a third Of a little
Girl In a dull red skirt kneeling beside an
earthen water jar, the work Of John Opie:
to say nothing Of two rather remarkable
portraits of men by Beechy and Sir Thorn
as Lawrence, both distinguished produc-
TONS and with these are hung two little
landscapes Of practically the same period.
which are toneful and decorative.
TN the group loaned by Mr.. Crane land
! scapes predominant both in numbers
and interest-that is. II city pictures may
be included in this category. On either
side of a full-iength portrait Of the Span
ish king SO frequently painted by Wales
auez, and in this instance probably por-
trayed by one OF tn s great masters fol-
lowers. hang two landscapes by Richard
Wilson and two pictures Of architectural
themes, one of which is doubtless view
Evening star. [volume] (Washington, D.C.) 1854-1972, 1912-06-08
n NEWS AND NOTES OF ART AND ARTISTS y

horse rather than the principles Oh
sculpture The former works may, IN
deed. be monumental IN eHect, out IN o 70
tail they will naturally leave CERTAIN
things to your imagination, II not 70 your
Indulgence: while the latter may havo
q certain fine documentary significance
as to trappings and customs. put Ihes
will belong to genre. or to the eInno1 Tts :
Thomas statue is easily In the true
equestrian class.
THE American Academy in Rome. the
! headquarters Of which Is in this city,
has just issued its annual report for the
past year, which includes an account OF
the meeting at which Mr. Mfllet was ap-
pointed director and resolutions on his
untimely death. description is given of
the Villa Aurelia on the summit of the
Janiculum II H. devised to the academy
by the will of Mrs. Clara J. Heyland:
which will in tine become the home OF
the school of fine arts and OF archaeology.
Brief reports from the several students
holding fellowships are also given. to-
gether with a statement concerning the
1912 scholarsh; ps. for which lob applica-
tons were received. Ninety of these We're
for the scholarship in architecture. There
were only nine competitors for the schol-
arship in sculpture and but twenty-three
in painting. Our academy in Rome is
conducted on the same lines as the Prix
de Rome of France. though not under
government control. The fact that Eng
land has recently established similar
academy in Rome goes to show that the
value of study there s being widely I'M
derstood and appreciated. All Of these
academies are essentially postgraduate
schools.
THE death of Daniel III. Burnham
leaves a second vacancy in the men,
bership Of the federal commission Of fine
arts. Since the creation OF this comm.s-
sion Mr. Burnham has been chairman,
Mr.. Millet, vice chairman, both Of whom
within a very brief time have passed
away. The question of who will be APP
Do nted to fill the vacancies IS OF interest
and importance. The influence of this
commission IS far reaching: that IL, should
be representative and of the highest stand
ing goes almost without saying-certainly
Il must be beyond reproach. To the city
of Washington. and. indeed. to the coun-
try at large, the personnel OF this COM
mission signifies much.
LEILA MECHLIN.