The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1912-10-16
By ESTHER GRIFFIN WHITE.


That is, he of the intense artistic
Temperament.
For it exists, this artistic tempera-
ment, even though it's nomenclature
has been badly over-worKed and its
substance farcically and mistakenly
applied.
And it's possessor is alike the bless
ed of the gods and the cursed of the
| fiends.
| For his sensitiveness is acute.
1t responds to each passing breath
as the sensitized plate to the finest
nuances of light.
1t pitches it's possessor into the
blacklist depths or sky-rockets him
a1oft to the zenith.
There are few intermediate zones
/ where he rests.
And if he does, not for long.
While he may miss the seeming con-
| tent-mere lethargy though it be-of
the middle of the reader, he also miss
es the Iatter's bovineness, his stolid-
| ity.
His spiritual vacuity.
| His artistic nullity
His intellectual stagnation.
On the other hand, his pleasures are
| intensified.
His enjoyments accentuated.
| His feeling more deeply etched.
The possession of this psychological
tid-bit gives color, verve, tang to life.
1t makes every day. different.
Some strangely beautiful. Others full
of woe and ineradicabIe gloom 1t
changes the complexion of a moment
and casts shadow on a dream.
| It writes the poems, paints the pic
lures, models the statues, builds the
| cathedrals, sings the songs, composes
the music, interprets the drama.
Some have it in part. Others in
whole.
1t loves more endearingly, hates
more vehemently.
1t gives brilliance and melancholy to
passion.
And finality to death.
1t causes it's possessor to be attuned
more finely to the unknown. To see
and feel clairvoyantly. To listen with
, intentness. To hear the melodies and
the grand, clashing harmon1es of the
universe.
But it wearies of the merely human.
1t is nauseated with mediocrity sick
ened with commonplaces, repealed by
the vagaries of the flesh.
Misery is attendant upon it's acute
possession and ecstacy it's accompani-
ment.
This was illustrated not long ago
through a musician who appeared here
in vaudeville.
He was thorough musician.
To his finger-tips-to the innermost
part of his being.
Presumably, through necessity, he
had taken his violin and his daughter
and gone on the vaudeville stage.
A foreigner-a man OF blood and
breeding, an Austrian by birth al
though with that admixture Of Polish
blood which gives an extraordinary
tone to personality. The Poles are
remarkable people racially and artist
cally.
They are intense, insistent, poig-
nant.
Their art, in any form, is always dis
tinct and distinguished Especially are
they unsteady canny.
This man no less than his compatri-
OTIS. He could play the violin with ex-
quisite grace. But not with that appeal
which exists for the more or less low
proved vaudeville frequenter.
His idea-the reincarnation of the
originator of violin virtuosity-was a
good one, both dramatically and pic
torially. He himself played an excerpt
from composition by this great mas
ter with fine virtuosity-making the
impression complete in its way.
But his audience was mystified.
And Indifferent.
Very few had ever heard of Loca-
telli
known to all players of the violin
or presumably known-the man had
little comprehension of the attitude of
his audience,
In conversation with the writer he
expressed intense disappointment over