davidaulloa/AmericanStories huggingface dataset:
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-10
Keep Bowel Movement Regular.

DR.. Kings New Life Pills keep
stomach, liver and kidneys in healthy
condition. Rid the body of poisons and
waste. Improve your complexion by
flushing the liver and kidneys IT got
more relief from one box of DIR. Kings
New Life Pills than any medicine I
ever tried" says G. f. Hatfield. Of
Chicago, III. Csc. at your druggist.
(Ady).
The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1914-05-10

The last act viii be ball game be-
tween the Campbellton ball team and
the caudidates-tickets free 10 The
game.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10
WAR BRED UNDER WINGS or STRIKE

troops was to be withdrawn, and they
again postponed the attack.
BY order of the Governor all except
a few attachments were withdrawn on
April rs. Plans were then completed
for the attack. While the militiamen
were attending to their regular camp
routine on Monday morning, April 20,
the strikers opened fire. The battle
ragged all day on the prairie and in the
hills opposite Ludlow, but at length,
by the aid of a machine gun, the troops
beat back the strikers at dusk. The
strikers, who had left the tent colony
early in the morning, were now driven
back toward the colony and the gullies
near IT,
The troops did not purposely fire di-
rectly into the tents. either with rifles
or with rapid-iire guns They did not
know that there were any women ass
children I'm the tents. The strikers
made no efforts TO rescue their fam
lilies from the burning tents, although
they themselves had taken refuge in
arroyos near the colony.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10

the glaciers. / have found that at times
in an artists life he finds need Of a
certain kind of symbol 10 express him
self. and in my earlier work, before l
desired to portray children and sun
shine the cliffs stood as the readiest
symbol that could be given me for the
immensely that | desired to set forth.
"Colors also are symbolic. You VIII
observe that | have painted the Gins
in dark tones. while in my later pct
ures. those dealing with children, nave
painted i'm the light. Dark tones nave
held 10 be the most suitable for such
subjects as the crags which l have en-
deavored 10 associate with the huge
the solemn. the vast the mysterious
forces of the winter and the night,
serving as wonderful foreground for
the unknown apd the infinite. For sub
iects that are tender and immediate
there is nothing more expressive than
the sunshine. 1t is associated directly
with children. for which reason | have
for the most part painted them in II,
desiring i'm all my work to get my SYM
bols right. for my ultimate purpose,
which is an emotional one. That is
what the artist is always striving for
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10

origin of the fight, except participants
and their sympathizers. The official
statement Of Major Hammock, in com
mand of the forces stationed near
Ludlow, is a brief and somewhat dis
jointed account. He states that al
$50 Monday morning he ordered Louis
Tikas. who was leader Of the Ludlow
tent colony, to show why he held one
Carlndo Tuttoilmando against his will.
Tikas replied that he had no such
person. The major then 'phoned Tikas
to meet him at the military camp.
Tikas refused, but agreed TO meet him
at the railroad station. The major
then ordered his men TO drill, and they
reported for drill, with machine gun.
He met Tikas at $50 at the station,
and saw 300 miners leave the tent col
ony, going south, while women and
children went 10 the north Of the tents.
He ordered the troops to take posi-
ton on Water Tower Hill. He then
saw Tikas signal the strikers to take
cover. The strikers opened fire and
the troops went into action, returning
fire. Strikers in front of the tent col
ony were first fired upon about 5:3O
p. m. At $40 fire started in the tents
from small explosion During the
evening two attachments. one in COM
mand OF Lieutenant Linderfelt, were
sent into the colony under fire Of the
strikers. TO rescue the wives and chill
dren OF the strikers
The statement Of the operators is
epitomized by careful student of
Colorado conditions as follows:
The Ludlow battle was the result Of
definite plan on the part of the
strikers. They had made such a plan
before the Congressional investigation
but had delayed it until after the in
vestigation for political reasons Later
they learned that a large part of the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10
Continued from first page.

houses seemed TO be in flames. Just
as the IRE started at the mine a man
on horseback made his way through
the south end of the town. When he
reached the open he whipped his horse
into a gallop and headed for a position
midway between Walsenburg and the
McNany mine. He had nearly reached
the pinon trees. at the foot Of the hill,
when he pitched from his horse. He
had been shot
Fourteen are known to have been
killed during the fighting on the 18th
between militia, mine guards and strik-
ers in the southern .coal fields Five
may be added to this list when the bat
tlehelds of Walsenburg and Forbes are
searched. Two Of the six men wound
ed at Louisville. in the northern field,
on the 27th and 2Sth are not expected
TO live.
Major =. p. Lester OF the hospital
corps, was killed at Walsenburg on the
10Th while giving aid to wounded
soldier.
\ truce was arranged at $50 p. m,
after ffty-six hours Of continuous
hghting in which the militiamen used
machine guns they themselves con
structed of heavy pipes.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10

struck deep and hard and then re-
turned to camp.
They left the campers striking col
ony late at night and the battle began
about , a. m. Four hours later, WITH
the big mine devastated and a property
loss estimated at $4,000, they left me
hills to the east, west and south and
marched back to Trinidad. Nine were
killed outright and six were injured.
The sole defence of the mine prop
erty. which extends for more than a
mile along Forbes canyon, fifteen miles
from Trinidad and five miles from the
militia camp at Ludlow was the Mich
oil force of guards and miners, lighting
from below and greatly outnumbered.
A militia outpost, which saw men
leave the hills after the battle, said
that 1i5 were counted. When the
men swarmed over the hills above
Forbes. their presence threatening de-
struction TO the camp below. the men
at the mine sprang instantly to the
defence. \ machine gun was mounted
on the hills above the superintendent
office. II was effective for about thirty
minutes. when IL became choked.
Nichol ordered three men To take
charge of the handle. and the rest of
the gun was secreted after the night.
The men with the handle we're among
the guards missing at noon.
The men who defended the camp say
that three strikers were seen TO fail
and roll down the hill during the bat
tie. one OF these. supposed to he a
Greek. fell against tree and his body
lodged there on the hill 100 yards above
the camp. The wounded strikers were
taken back TO Trinidad by their fell
lows.
There are. says a Colorado corre-
spondent. no known witnesses OF the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10

strikers in rescuing their families, hut
these men refused 20 allow newspaper
men. strikers and undertakers to in
yestigate the ruins and remove the
corpses.
President Wilson's action in sending
troops to Colorado after he had been
called upon by all of the constitutes
authorities in the state, from the Gov
ernor down. is being compared TO Pres
ident Cleyeland's action in sending
federal forces 70 Chicago at the time
Of the great railway strike in 1891. I'd
President Wilson the Colorado situd-
ton is "A source Of as deep concern as
anything that he has done or must 90
i'm Mexico. II is clear that the time
has come when the public will demand
the facts in the labor controversy out
there and the rights and wrongs Of II.
II win be remembered that when NJ.
Rockefeller was examined by Chairman
Foster Of the House Committee on
Mines and Mining he admitted mat The
Rockefeller interests owned 40 per
cant Of the Colorado Fuel and Iron
Company's stock. Several newspapers,
emitting the intervening questions,
quote as follows the most important
part OF Mr.. Rockefeller's testimony:
Il have done what 1 regASd as best
in the interests Of the employees and
the large investment | represent. We
have put the Dest men Obtainable in
charge and are relying on their ILdg-
ment My conscience eTArely acquits
me. We would rather that the un-
fortunate conditions should continue
and that we should lose all fhe mill
ions invested than that American
workmen should be deprived Of their
right under the Constitution to wor,:
for whom they please. That Is the
great principle at stake 1t is a ma
tional issue"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10
HIS DESIGN WAS MERELY TO
LIVE WITH CLIFFS.

Il became tired Of the art school,
said Mr.. Perrine and came over here
to New Jersey. / found it interesting
here and liked the cliffs. Up to that
time they had never been seriously
PAINTED. \ certain number Of sketches
and studies had been made Of them
but they were never taken as mo-
tive. liked their bigness, their i'm
mensity and their ruggedness. and set
to work to paint them to the best of
my abilty-but when first came over
here / did not wish to paint them. ]
wished to live with them.
II did not know a that time II |
should ever paint them. wanted to
live here and think. ! made a great
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10
Van bearing Perrine
LIVED THO Years
Under Palisades
nv II. W. STOKES.

IN the shadow Of the cliffs opposite
Dyclzmsn ct. the tramper through
the Palisades Interstate Park VIII
come upon an attractive little mouse
that was once chapel--a house 'hat
o,cupies so lonely a spot That IL seems
almost to form G. part Of the wilderness
that surrounds il. lie will be sure TO
ash, WIN lives i'm il and will be told II
y. happene 10 be with any one ac-
ouainted with that region. IT IS the
studio of Van bearing Perrine' the
artist Of the Palisades whose work
net with marked appreciation at the
International Exhibit here last winter
and one of whose Chff pictures hangs
IN the White House. MT Perrlne Is
called the artist of the Palisades be-
cause he is that above all else For
fifteen wears he has climbed and stud
led and painted the crags which are
so little needed by the casual observer
but which have a rugged and aus'ere
grandeur equalled i'm few parts OF
North America For two years ne
lived beneath the Palisades without
rutting brush TO canvas. He iVed
there for the purpose Of absorbing
81, far as possible the atmosphere that
he has since interpreted through his
paintings.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10
A FORM OF ART THAT SEEMED
REVOLUTIONARY.

II was a form of art that seemed so
revolutionary that for long time if
won few supporters. Now. however
and particularly when compared with
the work Of the cubists and futurists
II seems far from radical. And the fact
that it is excellent is granted by the
foremost critics and dealers in the
country. Richard Watson Glider. who
up to the time of his death was an
ardent friend of the artist. declared
that Perrine was the most original
figure in American landscape art to-
day. a certain dealer in this city.
whose name cannot be mentioned for
obvious reasons. declares that he is a
genius fifty years ahead of his time.
His own generation may not recog-
nize him. said this man to a friend,
but IN future generations it is my
firm belief that he will be granted a
place among the first"-a remark that
was agreed with by a member Of the
National Academy and a famous artist.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10
THE CHlLD'S WORLD" AND THE
POETS WORLD.

"One Of my latest paintings is called
a Ghids World ! see that to the
child the whole world is unadulterated
magic and pure mystery. Ny little boy
hasn't classified anything as yet The
butterflies. the birds. the flowers are all
miracles to him. IL is a notable fact
that the same state of mind concern
ing Nature has been held by the great
est poets i'm their maturity They
come TO a point where they refuse to
classify any further. They refuse to
allow the mystery to be withdrawn
from am object by the naming Of 1t.
Their minds are one with children's IN
this matter. We have become so
scientific that we are specifically sci
entific We take a seed, for example,
and we realize that there are certain
elements in ii. But. while we know
thai there are certain and definite
amounts Of chemical substances In the
seed. il is not often that We stop to
think that il contains the completed
tree. You never know or understand
subject by learning it's elements and
ingredients. You have to learn its
tendency as we'll And that is where
the minds of children are far superior
To those Of their average elders.
This talk is extremely fragmentary'
but that is perhaps as it should be, for
| am i'm the midst Of battle that l
can only report up 10 certain point
The artist, among other things, is
reporter. And so long as he is true to
his own sensations and his own facul-
ties it is quite impossible for him to
give "A stale account of anything. For
such a man death, as well as life is
new adventure in. spite of those VINO
have passed that way before him.
The artist must never trouble him.
self with what is not worth while in his
opinion. no matter how wonderful The
same thing may seem to his compan-
ions. It is essential for all of MS to be
absolutely honest-to think that our
thought to-day will not be the thought
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10

Impelled to Caree1
by Pictures in
Shop Window.

of tomorrow and to express Il wit,
ont any fear as TO It's ultimate ,rs.
or form. But sometimes. and part
uIarly i'm painting. it is difficult 10 a.
tect lust what are the discordant 81.
ments.
Il have always loved Nature. and
always have been in the habit Of "a,
ing a sketch book with me in my ,r,,
through the country and along ia.
road. At every turn I would ars
something new 10 stimulate my atte,.
ton until my mind became so fun ~
the things that had seen that n,
impelled TO sit down and 10 paint th.,,
then and there. would SCI about nv
work with the hope that 7 would e.
it all and put down everything that =
had seen. but It is needlegs 10 say Tia,
I never succeeded II was r9t until !
learned that one detail in ths ent.p
scene was what had interested me tha
made any progress az AL I snail,
came to a point where I would 40,
and look at a Landscape and begin >,
analyze just what IL was that hal
made me stop at that particular point
And | learned that perhaps il was a
little group Of trees on the line Of ,
single hill. OF perhaps two or TIRE.
leaves Of different cOlOrs b,endel
strangely together You have 20 min,
from a landscape az you mine from
gold mine and reject the hundreds ana
thousands Of things that do not NOV,
you-reject the whole mass in fa,t
and keep intact and alone the Itch
Jewel that you have CLEANED from H.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10

Spaygo i'm an article on Perrine and
his original form Of painting, "coull
hardly he imagined. In front there is
an almost vertical drop. while al The
back of the house the cliff rises like
great wall. In the summer time, when
the cliffs are covered by vegetation,
when the forms of the trees are made
tame and uninteresting 10y their dense
foliage. Perrine finds the place du,l AMI
oppressive Then he HES away 20
Long Island. where he paints compare
lively little. spending most Of MS time
cutivating his small garden patch
But i'm the winter, when the gaunt
gnarled stark naked trees stand out
against the gray skies: when the river
below is frozen over and the crevices
and hollows Of the cliffs are filled with
snow. upon which the moonlight casts
the spirit of mystery Perrine lives in
intimate association with allan ar
dent nature worshipper, aiming ever II
express on canvas the result of his con-
temptation Of the eternal cosmic spirit.
When the first gray riffs of dawn
break the blackness Of night he is
alone with the elemental forces of nat
ure's temple
With little instruction to profit by
and thrown entirely upon his own abil-
ity and inspiration. it was i'm the midst
Of such scenes as these that the artist
began the work that has been most
closely associated with his name-a
form Of painting il which the upright
and dramatic lines of the crude cliffs
have supplanted and displaced the more
conventional horizon line of the aver
age landscape painter.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10
AS TO THE RESCUE OF WIVES
AND CHILDREN.

The last sentence OF the stateme nj
Of the operators. points out a Colorado
correspondent. should he considered in
connection with the statement OF
Major Hammock that details OF troops,
under fire from the strikers. tried TO
rescue the wives and children Of the
strikers from the burning tents.
At least one striker was shot and
killed while trying 10 rescue his wife.
and a boy OF twelve was shot in the
head while trying to get drink OF
water for his mother. The shooting
In the colony continued while the tents
were burning Not only did the fring
Of the troops and guards hinder the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10

many rough sketches. however. and
after two or three years worked out
composition of my own that includes
the upright line. My problem has been
to deal with the horizon line running
up and down instead of across the
picture-and AZ the same time 60 attain
some kind OF a whole that could be
completely expressed within the four
walls OF my canvas. As my work
progressed | have been able to bring
myself nearer and nearer TO the cliffs,
until now ] am able TO paint them in
all their rugged abruptness close at
hand. while in my earlier painting
was forced to take them from a dis
lance.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10
THE CLIFFS AS SYMBOLS OF
STRUGGLE.

But | have not aimed 10 paint the
cliffs as such. but rather as the SYM
ools or the hlerogyphics that are used
by Nature TO express her different
moods | have tried to use the cliffs
as the symbols of the vast and rugged
struggle Of life, the immense grind, the
immense upheaval. the eternal and 81
lent combat that is typihed by these
crags that have pitted themselves
against the clements and wrestled with
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10

who said to a friend when looking at
some Of the Perrine pictures: Here is
the work Of the man who is the mas
ter of us all
The writer called upon Mr. Perrine
recently and talked with him about his
work. The artist told him Of his early
life and how he had taken up the type
Of painting that has since been closely
associated with his name.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10
AT COOPER INSTlTUTE-A TAR
GET FOR STUDENTS.

on October $ ne appeared "a thu
Cooper Institute. lean as rail wear
ing a Texas hat and with long hair fall
ing oven his shoulders. He created "a
sensation az his first lesson and was
a. target for the gibes Of his fellow
Students. They did not gibe him long
howevcr. for his cowboy training
showed itself.
Discouragements followed thick and
FAST. Mr.. Perrine and the school had
divergent ideas upon what was vital
Tor an artist He decided TO join a
second school, where he found himself
almost equally restricted. lie then de-
cided 10 leave school and TO continue
his work by himself, and it was on a
chance excursion that he drifted TO the
Palisades, where he has remained for
the past fifteen years He was so
struck with the beauty of these
tremendous cliffs that oyerhang New
York that he decided to remain in the
closest association with them. He dis
covered a tiny building that at one
time served as combination chapel
and school house for "A primitive little
community that has formed curious
eddy in the advance of the metropolis,
and through the good Offices Of the
Palisade Commissioner he had IT fitted
up as a dwelling that has been so at
tractive TO the eye of the passer-by
that il has already been written about
and photographed. The upper story
OF this building gave the artist his
studio The lower furnished him with
bis living quarters. In the furniture
OF his house he kept for time the
pulpit and some of the old pews. The
dwelling and its surroundings proved
10 be suitable and decidedly attractive.
"A more romantic spot says john
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-10
REMARKABLE HISTORY OF THE
PALISADES PAINTER.

Years Of poverty and privdtloh nave
tear undergone by this artist IN oluoi
~ follow his calling He was born III
Kansas forty-Ave years ago and Wh'h
o. Young man learned the trade o.
rlasterinr. by which he supported MN
e.,f for some years until he went 20
rs,es and became a cowboy. HIS am
bitior IN become painter was crES-
,suiysd IN a somewhat curious man
rer He saw a cheap Autograph IN the
window of furniture store IN DalIas'
. rsintinr of the sort that is cut of
bv the ward. as YOU want it, but tha'
had in II something that approached a
hint of sky and a shadow OF a noun
-eir Poor as IL was. there was some
ching about il that moved the future
artist into action. it was the Ias'
touch TO the lever that sent HIM heao-
,one into the struggles of an aruSuc
csraar He was industriously punch
ing COWS i'm the Texas panhandle III
that reriod and making sketches on the
eide ,.bcp not otherwise employed. An
acquaintance told him of Cooper IN
stiute. in New York City. where IN
e,rrctiou was To be had for nothing
10 wrote to the institute and received
O. ranlv that he would be admitted as
student if ne so desired, being told to
rerort for work on the Sth OF OCTOBER