The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1916-01-21

"Poison more deadly than mad
dogs tooth
Noel crawley stood. palette n hand.
IN front Of IN easel IN his splendid
studio There was q delightful pros
psct from the big bay window, one Of
the pleasantest prospects In London
the great River Thames, barges SLIP
ping down the tide. crowded steam
boats hurrying to and fro. Just . hint
Of the mighty traffic n the grsat pool
below.
Opposite, wharf ana factory, 1 bro
ken sky line. the huge Doultou pot
terry works, one Of the landmarks OF
London, all wrapped In gray, misty
atmosphere, cold yet mysteriously
suggestive. and : Joy to the eye since
the great dssd artist taught the
world to see It.
Outside the bay window was little
terrace set with . row Of quaint bay
treee IN great pots. tor all the world
Noah's Ark.
The finest view Ia London, said al
who came to Noel CYawley's fourth,
floor studio fiat The address was 40a
Grosvenor road, London. 8. W., but on
certain Spring nights. whom the hand.
some and popular painter. gave stu.
do party and strung chain OF japan.
csc lanterns across the terrace outside
the bay window and somebody played
4 mandolin and somebody else sang
In ameliow tenor voice, then, leaning
aown an9 4Sxlnk lnl0 W W4soL WV ~
smooth surface. one might have
thought It an enchanted night in Ven
~ .osu q su'o T.".s.a H,.v =.
toe nss!t ~ the SEoss IlHpi'0 SnJ -
the world.
Within the studio was n0D!y pvopoT'
TONED. There was not much furniture,
put wat there WAS spowea TASTE sluea
TO opulence. The usual Things We're
tnefe. 9! course-tne Eastein emDrol'
CERES, the pierced Noo!lsa AmPs' tno
pIasteT cast, the OeeutlIul TuSs Oh t9e
polished floor. the oag easles Wltn {nelr
canyasses dreped; but other Things
rave this particular studio q note sOf
individuality. t.
There we're great many flowers
ARRANGED 50 that they seemed TO be
growing, and on several smati tao!es
2 neap OF DOCKS some pe4utiIuiiy
nouno, some Just paper covered, gu.
the latest OF every Knd, IN severai
LANGUAGES. There were some very
comfortable cnairs, nut Two particu-
1rly comIortap!e; ana one OF tneM
was neaped villa enormous ~ll1arre
cushions q olack satin emnroiaered
with gold. In snort, the inolVldual note
was clearly more FEMININE tnan mas
cullne. sr-.'r go 60, = $
a 0ueetion OF = .,
Mans PersonaHty.
HAHnAna
~ the personality OF Noei .CTsWley
himself. He was extremely handsome,
vesy AI anu snsnt anu sraceu' VIII
uaIn naiI' spi1nuu olacA oyvo' nioau
iorenead. SENSITIVE pose. ana really no
me mouth ana cMn. But there was
lust that foucP OF over'refinepept "
the face that,f though certainly not
stamping him as an effeminate, might
account TOT tpe rect tnaI ne gave q
c''inent pace W Tue soA'er Braces VI
VET ne zee was sNpns 40 wen "
heoHft', fn' not on!vA strons out
ccmnlor There were lines ABOUT the
mouth that contrsdicted tina dreamy
eyes, showing that the man was
man o. action and or styon9 passlonS'
az Wen visionary: ~ was the race
OF an fdes 'st eternally att war with
the lower irstinctscf strong and I'M
perto'1s nature.
Perhnns the most individual" note OF
al In this beautiful studio was ex-
pressed IN the mass OF Sweetness. In
weter color: In oils. IN pastel. in nen-
Gil, IN chalk: three on small easeis.
the rest tackled on tn the walls. the
most complete Of al' framed over the
msntlepiece-and all renresenf'ne one
woman.
1t was no wo7der that Noel Craw-
ley painted her.. sFRtched her. drew
her. In every conceivable hose. in ev-
cry possible light-in turs. with J a
great hat shadowtng her ewes. with
her bust and shoulders cleaning mar.
perry. full length, or only the head,
stretched on a couch of skins. or read.
ing, with the lamplight shining on
her hair.
Such 4 woman, surely, an artist
could paint all his life, and seek no
other model, and never tire. Ut was a
slorious face. face Of passion and
mystery, with enormous eyes, strange,
haunting, beseechIng eyes, with a soul
looking. out Of them that was for ever
asking andnever satisfied.