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About The Sunday Oregonian. (Portland, Ore.) 1881-current | View Entire Issue (July 30, 1905)
THE SUNDAY OREGQyiAX, POBTLA20)r JULY 30t 1905. 33 WORKS OF BRILLIANT ARTISTS Portland ers Have Rare Opportunity of Seeing Magnificent Collection of Paintings on View at the Museum of Art ONE visit to the exhibit sow being held at Portland's new Art Mu seum Is Inadequate to give a sat isfactory Idea of the gems of modern art 'displayed there. And It would be safe to wager that a small proportion of the city's residents and guests have paid that "first visit- Tet I assure you it is well worth more than the cursory glance usually accorded to periodical exhibits In large cities, even. It will repay close examination and to the students of art It is a valuable oppor tunity to compare methods of our best living American artists and to trace the development of modern art tenden cies from the somewhat conventional style of a quarter of a century ago ta the broad, breezy treatment of many of our younger men and women, and to the disciples of "Impressionism," who are also in evidence there. This collection has been chosen with great care and comprehension and then, after reaching this city, which is the central point, of so many pathways this Bummer. It has been disposed on the walls of three of the museum rooms in a manner to enhance the value of each subject, either by contrast or by harmonious relationship. The result is one that Portland may feel proud to have Its multitude of Bummer guests become acquainted with as typical of their appreciation of art lines. No more natural question could be asked, after seeing the museum of art on, the Exposition grounds than this: "Hob Portland a- permanent art museum?" and then "What kind of works of art do you exhibit there?" The answer at the corner of Fifth and Taylor streets is one that a larger and olJer plac6 than the "Rose City" might rejoice to give. "A Grey Day." Now let us see what we have there. Going up stairs and passing through the first room B we enter room A, where -the numbering begins, and find water colors, pastels and decorative studies. The keynote of the whole exhibit is struck, so It seems to me, by the poetic character of number 1- "A Grey Day" by Marianna Sloan, for tho whole display will be found to be on a high plane of sentiment and feeling; The figure study, numbered 2, is worthy of especial mention, both for Us draw ing and coloring. The style is a com bination of genre (carried to such per fection by the Dutch) and of character portrayal, so successfully developed by the best modern French and American artists, among the latter being the cel ebrated William M. Chase, of New York, who is represented In this collection by a subject of quite a different nature; 'The Beach at Landevoort," which is lent from the collection of Mrs. -W. H. Crccker. of Ban Francisco. The artist, Emma Lamport Cooper, is represented by another excellent subject "At the Loom." There Js somewhat more color and lightness of handling in this than in the "Uncle Joseph" Just rcfered to. It Is most Interesting to note the devel opment of thought as an artist passes from one manner to another In paint ing. We know that Raphael had three distinct manners, as bad Murlllo, Tur ner and others. The decorative element Is Introduced In No. 5, and the artist, Violet Oakley, has a series of six panel studies which she made for the Governor's room in the Pennsylvania Capitol at Harrlsburg. The other numbers include historic episodes, among other subjects being the burning of Tyndalo's translation of the Bible and his own martyrdom. The style Is strong and direct; the coloring is solid and rich, while there is much tenderness of thought in the treatment. Tho various methods of treating the human 11 sure picforidlly are all to bo seen in the three rooms, from the almost pho tographic (though broad) treatment of Xr thur I. Keller, to the esthetic, almost classic work of Hugo Ballln in 103 ("Mu sle")and 13S ("Portrait," showing RoFset ti Influence), and 146 ("Mother and Child," lent by the Century Company), and fur ther to the tender, dreamy style of Olive Rushes 157 and 158 ("The Lullaby Moth er," lent by the Delineator Company, of New York). Mora's Bold Work. Tho bold, realistic work of F. Luis Mora in 67 ("The Cigarette," medal pic ture from the St. Louis "Exposition, 1901), 842 (La Chlla." which Is a study for the principal figure in the artist's large can vas at the Lewis and Clark Exposition), is full of force and living principle, while the examples of "Impressionistic" work that lead all others In that respect are 43 and 49 ("Ballet Girls"), by Edgar Hilalre Germain Dcgns, who ranks as a master of the "impressionist" school, second onty to Manet, Its chief apostle. These two pic tures by Degas arc loaned from the Crocker collection In San Francisco. In looking at such work as this, the question Is not, "Is this the most beauti ful or most pleasing picture I ever saw?" but "What was the artist's Idea? Does he convey to me a sense Of satisfaction as to form, outline, colon, character; do I feel my thought stirred In a new way, so I see more in things than before?" If you can answer "yes." then the particular manner of the artist takes secondary place and his Inspiring motive comes be fore you as the all-important thing. Just as two or three fine planlstes may render a Beethoven sonata in as many different styles of technique, yet each convey to you the controlling thought of the com poser. The master is. of course, the one who stirs your thought and causes you the least sense of his own personality. The individuality of artist or musician or poet governs his interpretation of Na ture's message, but he must always let us remember that Nature Is ever greater than her most Inspired devotee. The fact that especial attention is not called to each figure piece exhibited in the rooms at Fifth and Taylor streets does .not imply that they are inferior to those already mentioned, for there are many powerful examples of figure work.ln color and In black and white, sketches prepar atory to elaboration on canvas or on a larger scale in water-color or as designs for reproduction In Illustration of books and magazine articles. Mr. Du Mond's Work. In this connection particular attention should be given to the exquisite figure designs for illustrating Milton's poem on the "Natlx-lty." For they are the work of an artist of soeci&l Interest to Port landers tor several reasons, not least be ing that to him we owe the fine art col lection at present in the city. The work of Frank Vincent Du Mond in connection with the Lewis and Clark Centennial should win the gratitude of all who appre ciate efforts in behalf of advancement in education and culture. Worthy of study are the refined conceptions, "An Imper fect Pilgrim" (837), "Farmers' Daughters With Their Bare Arms" C34S), and "The Same That Titian Saw" (310). the latter being as illustration for Henry Van Dyke's "Little Rivers." The charm of this picture its subtle, for we have not yet fathomed the sheening of the sympa thy between man and Mature. These three are copyrighted and lent by Charles Scrtb aer's Soae, aad the Mil too designs by the Century Company. It is not only by fig ure work that Mr. Du Mond is represented in this collection, but also by several groups of charming landscape studies which are full of sunlight, of breezlness. of warm color and exquisite atmospheric effect. In this latter line of work. Mrs. Helen Savler Du Mond Is also well repre sented, and by her excellent work throws reflected llrht of keen interest on this city of her birth. It is not an easyta k to select two or throe works for mention out of a dozen or more equally good, but of Frank Vincent Du Mond's landscape studies Nos. 196 (recently sold). 323 and 234 may be mentioned, and of Helen Sav ler Du Mond's Nos. 235. 301, 319 and 331. Studies In Animal Life. Of next interest to human figure sub jects come those representing animal life, especially when In compositions showing their relationship to man. Of these one must call attention to F. Luis Mora's "Load of Hay" (No. 19), and his "Stone Boat" (No. G). It must be borne in mind that these are first studies of the subjects, to be worked up later, but Just becaUFe they set forth the artist's spontaneous ef fort at Interpretation of a theme or a pervading idea, they are of vital interest to the lover of methods, to the student, and to the observer who realizes he is being taken into the confidence, as it were, of his earnestly striving brother. Among these animal pictures, let me call attention to the work of William IL Howe a. disciple of the great Troyon and point out Nos. 274 ("Evening. Plcardy. France"). 277 ("Milking Hour, Lowlands, Holland"), and 309 ("Dordrecht, Holland"). The color, clear, brilliant, yet duly blend ed; the drawing correct to the life. Other numbers by this clever artist are delight ful landscapes, pure And simple, wind mills, heaths, dunes, all dealt with in a mancr of sturdiness and solidity that fit our Idea of the Dutch character. Of these special notice should be paid to 258 ("On the Dunes, Etaples, France"), where cool, dark trees are made to stand against yel low sand dunes which actually keep their place in the color scheme, though the chemistry of pigments lets us know that yellow Is an advancing -color (optically), while blues and greens retreat, or at the best remain stationary. This is as clever as the orange background to a certain well-known portrait, which remains back ground in spite of the sombre figure al most silhouetted against it. Then, again, the combination of land scape and human figure is gloriously rep resented in E. Irving Couec's 254 ("Con juring the Buffalo"), which represents an Indian crouching before a little fire of twigs he has built in the. forest, thereby performing one of those superstitious rites of which the life of the red men seems so full. Here the human being can be almost felt to be a part of the land scape, so at one is the nature thought in spired by both. Neither "sets off" the other, but they belong to one harmonious whole. Very much the same feeling Is roused by "Tho Faggot-Gatherer." by Jules Gucrln (42). where the figure of the woman, the dull color of the faggots, the equally dull and gray foreground, back ground and sky, so melt into each other, not only as to pigments, but esthetically. we might say morally, that a harmony U felt like that of primitive tones of music, quietly blendlns, while one deep, funda mental bass note, constantly recurring, holds all in place, inseparable. Potthnst's Water Scenes. Ofy quite another thought. Is Edward Potthast. who sees the aggressive bril liancy and motion of life chooses water and boat scenes to express 1U In 97 ("Reflections") the water dances and sparkles under his brush till we can al most see it ripple and give and take the crisp reflection of the boat on its eurface. So again In 12 ("Mid-Ocean") and 13 ("Water Front; Noank"). There Is power and authority in a style like this, a grasp of the realities and the courage of "an eye for an eye." Temperament pla-ys such a marvelous part in seeing, comprehend ing, recording! One artist finds trees very solid, stately, rich In color, another sees them as a vehicle of motion, while THE SUNDAY OREGONIAN'S SELECTED FICTION THE GUEST OF HONOR 4 By Hermann Knickerbocker Viele . (Copyright by S. S. McClure Co.) ETTERS of introduction:" Clara sighed. "One can't help wishing they were made misdemeanors. like other lottery tickets." And thlj being her third remark of kindred import, curi osity became at least excusable. So Mrs. Pcnfield stroked a. sable muff In silent sympathy. "We had one yesterday from Jack's Boston aunt," went on her charming host ess, "a Mrs. Bates, who Is continually sending us spiritualists or people who paint miniatures or Armenian refugees. Just because we spent a week or so with her one Summer when the children had the mumps. In Lent one docs not mind. one rather looks for trials but now one's! dinner table is really not one's own. Maude, do let me give you another cup of tea; It's awfully bad. I know; we have to buy It from the Dutroar girls. If one's friends' would only not ll things one has to drink!" "Such a delightful little teapot would make any tea delicious, I am sure,." mur; mured Mrs. Penfleld, and the conversation rested while a noiseless menial entered, put wood upon the fire and Illuminated an electric bulb within an opalescent shell. An odor of cut flowers floated in the air and an exotic whiff of muffln. Mrs. Fessenden, when she had made the tea, sank back once more among the cush ions and stretched her small feet to the blaze. "I am not at home, Pierre," she an nounced. "Perfectly, madame." replied the men ial, as though the absence were self-evident. Mrs. Penfleld mused -and -sipped. "Some women are so inconsiderate when they are old," she said, rcmlndingly. "And so are most men when they are young," rejoined the lady of the cushions, "and Jack, though nice in many ways. Is no exception. When I ask him to help by having unexpected men who must be fed to luncheon at the club, he says cham pagne at midday gives him apoplexy. And so we have to" Invite an unknown person to our very nicest dinner." "What unknown person? "Inquired Mrs. Penfleld, and Clara sighed. "A Mr. Hopworthy," she replied. "Fancy, if you can, a man named Hop worthy.' Mr?. Penfleld tried and failed. "What la-he like?" ahe asked. "I haven't an Idea. He called here es terday at 3 o'clock fancy a man who calls at S o'clock! and Jack insisted on invit ing him for tomorrow night and I had to give so much thought to tomorrow night!" "Qf courw, he Is coming.' put In Mrs. Pchneld; "such people never send re grets." "Or acceptances, either. It would seem," returned her friend: "the wretch has not so much as answered, and soon it will be too late to et even an emergency glrL "Oh, e-aa can always scare up a girl." the ethr said, consolingly. Ptorre entered with a. little silver tray. "A aot, If mi a-imc j3eaes, fc an a third sees only the aspiring towards heaven and mingling with the clouds of tree tops and tender branches. The first one would be a realistic recorder, the second an Interpreter of character, while the third would be a translator of thought pictures and even a symbolist. One can find all of these temperaments plainly written in the most glowing Autumn tints, the freshest Sarins green; the sunniest golden-leaved groves and the coolest depths of forest, rich In color as a Dupre or Rousseau. Of marine subjects there are some mas terly examples that make one catch a quick breath In sympathy, 'Mid-Ocean" has already been mentioned; 10. by Al son S. Clark ("The Incoming Tide"), will be found exaulsite In color and handling; 29. by Mathias Allen ("Regatta Day at Macatawa") broad in style, gray In har mony, breezy in character, S3 by that master. Winslow Homer ("In the Rap ids") bold, strong, full of powerful con trasts of color and suggestions of life crowded to the brim with tense action, and more than this, enthusiasm. Stand for Just a moment on the other side of the room and look across at S3 or 57 and you wish you knew those cool retreats in which to pass the scorching days of Summer. Poets of the Brush. Our poets of the brush I leave tor the last. Just as the tender uplift of the spiritual thought comes to us after the stir and stress of the day. We love these expressions of reverence for Na ture so much, we speak of them In low tones or in silence, hold a thought of gratitude for such loving deeds. Each vis itor to the gallery will recognize and choose those things that most arouse his own train of thought, but several ex quisite bits must not go unmentloned. No; 1. ("A Grey Day"), by Marianna Sloan; L by the same artist. ("Look ing Eastward. Late Afternoon"); 3 by Colin Campbell Cooper ("Church at Merrill-Aubrey. France"): 22, by Theodore Robinson. ("Cos Cob Harbor") an ex quisitely soft moonlight scene; 39. by Blanche Dlllaye ("Still Evening in the Little Street ); 59. bv Charlotte B. Co mant ("The Far-Away Catskllls"). a re markable stud)' in soft, dull blues, that should be viewed six or seven feet away, that the planes of distance may take their proper places. 64. by Charles War ren Eaton ("The End of Summer"), dreamy, poetic Jn the extreme, a perfect .gem; 74. by E. J. Couse ("Driving the Flock"), a picture of more than ordi nary significance, for In it are not only a charming background of landscape, a finely drawn, softly harmonized flock of sheep urged on by a little boy, but a sentiment of positive' consecration, so that one feels much as when before an altar; the picture breathes Innocence and holi ners. and thus becomes a piece of sym bolism; 77. by James Henry Morer ("No vember Evening-), the moon rising be hind a hill, the whole picture nearly In monochrome and wholly charming; 79. by Charles W. Eatons. .("At Close of Day"), a very harmonious efict in green gray tint; 80, Chllde Hassam-'s ("Aur tumn Haze"), an excellent example of this past master of noetic effects; S3, a singular but exquisite thing in pale pink and green grays ("The Bluffs at Lyle"), by E. C. Eirlch: SB. Anna Scott Page's ("A Moonlight Night"); SI ("Folding the Sheep") by William RItschel, a grand conception of repose of evening; S3, Lil lian R. Reed's ("Moonlight") a path through the woods with the stars twink ling overhead, sombre In tone, well harmonized, far from gloomy, indeed. It can be called 'cheerful, which is due to the star effect. 120 and 121. by C "W. Eaton are most poetic In treatment, as is 194. "Sketch" by Harry Wents; 233 ("Moonlight at Sea"), by Potthast. dis playing this artist In quite a different vein from his 57: 300 by Lewis Cohen ("Connecticut Pas'ure") in very soft gray green tints; 3K ("Connecticut Land scape") representing still another style of the versatile Edward H. Potthast The treasures of room B aro by no means exhausted In this partial list, and before passing downstairs to room nounced. Perhaps had madame pleased a pineapple or a guinea pig might have been forthcoming. When he had retired mad ame tore open the envelope. A flush ot , pleasure made her still more charming. "Hopworthy has been seriously In jured!" she cried, almost in exultation. -"And how much anxiety you have had for nothing, dear!" said Mrs. Penfleld, rising. "So often things turn out much better than we dare to hope. What does bo say?" "Oh. only this; he writes abominably." and Clara read: "Dear Mrs. Fessenden: I assure you nothing less than a serious injury could prevent my availing myself of your charming invitation for Wednesday even ing." . . . "Oh, Maude, you can't think what a relief this is." "But" began Mrs. Penfleld, and paused, while Clara, folding the note, tore it de liberately in twain. "I don't believe he has been riously hurt at all." she said on second thought. "He simply did not want to come. Fancy a roan who Invents such an excuse!" "But" began Mrs. Pcnfield once more, when Mrs. Fessenden interposed. "I shall hope never to hear his wretched name again." she said; "Maude, dear, you won't forget tomorrow night?" "Not unless Butler forgets" me," said Mrs. Penfleld, whereat both ladles laughed the laugh that rounds a. pleasant visit. "Jack," whispered Clara, "please count and sec If every one la here; there should be twenty." It was Wednesday evening, and tho Fes sendens Colonial drawing-room boused an assembly to make the snowy breast of any hostess glow with satisfaction, espe cially a. hostess possessing one inch less of waist and ono Inch more of husband than any lady present. Exactly twenty," announced Jack, "that is, if we count the envoy and the Countess each as only one, which doesn't seem quite respectful." "Please don't try to bo silly," said his wife, suspecting stimulant unjustly. To her the function was a serious achievement, nicely proportioned, com plete in all its parts; from Mrs. Balling ton's tiara a constellation never known to shine in hazy social atmospheres to the envoy cxtraordlnarys extraordinary foreign boots. Even the Countess, who wore what was in effect a eolfcrino tea gown with high-bred unconcern, was not a Jarring note. Everybody knew how the Countess twenty priceless trunks had gone to Cape Town by mistake, and her presence made the pretty drawing-room a salon. Just as the envoy's presence made the occasion cosmopolitan. When the man dolin club in the hall struck up a spir ited fandango, no. pointed chin In all the town took on a prouder tilt than Clara Fessenden's. The envoy extraordinary bad Just let fall no less a. diplomatic secret than, that. in his opinion, a. certain war would end in peace eventually, when Mrs. PenSeld. who happened to be near. Inquired: "Oh. Clara, have you heard anything more of that Mr. Hap worthy 7" "Don't speak to me of hlssr retorted Clara, clouding over. "When Jack called' -at his hotel to leave a card, he bad the eCrontery to be out. Just faaey. aa' he had alatoat frintfhJaa grsc!" "But" becu Mrs. FeafteM. C one aust pause to notice with ears the work of Thomas R. Ma.nl ey, which possesses many merits, , among them being solid, rich coloring, as In 35 ("Moonrlse at Dusk"); 72 ("Golden Clouds"), a water color with the depth .and richness of an oil painting, and re calling Dupre's style: and 141 ("Moon nt Sunset"). Chllde Hassam's "Concord Meadows' (71), and The Porch of aa Old House" (73) are- two of the ten derest bits In the first room. It Is as If tho artist looked, nut at his subject only, but through it as welL to sorn thing less perishablo than the mere eye could grasp. A most singular new style that shows Japanese Influence In its purely pJ--torlal effects Is that sot forth by Mau rice Prendergast In 95 ("East-River Park"). 100 ("Seashore"), 102 ("Frank lin Park"-i, which aro a perfect riot ot color, and may be called kalledoscoplc. for the little pieces of brightness sug gest motion, and one could almost ex pect to bo them shift about and mate a new pattern. It is Nature arranged In a pattern, which is the effect in Jap anese pictorial art. Thero Is much vigor In Prendergast's work and a wt of human Interest Is awakened in the spectator, though not one sentiment of tenderness, of poetic revery or tlnt mysticism which some persons connect with art. can be traced in his work u the effect it produce. Notice the excellent illustrative work of Frank Brangwyn 173 ("April Covor. 1904"), lent by the Charles ScrHme Sons, as Is his 203 ("The Sinking f the Venguer"). and 204 ("The Boat Gunners In Europe"), and especially his 343. In room C on the first floor, ("Look across, now, said Gerald"), which represents in black and whit two men In a boat owards dusk. With out knowing the story this Illustrate?, one feels sure there Is sometblnc ot terror and superstition in tho mind of the men, so strong Is tho mental quality portrayed. The Illustrations of Elizabeth Shlppen Green and Jessl Wlllcox Smith are worthy of special mention, for delicacy of fancy, grace of drawing, appreciation of childhood moods and characteristics and pure color. Such well-known Illustrators as Howard Pyle. Henry ReuterdahL How ard Chandler Christy and Charles Dana Gibson are represented here, but ned no special word, as tho reading publte Is well acquainted with the style of their productions. But some ot tbn less well-known .men and women an fast treading In their footsteps, as. for instance. Edwin B. Child. Frederick Dorr Steele. W. Hatherall. Anna W. Betts, Sarah B. Stlllwell (a pupil if Howard Pyle of great promlso), S. M. Arthurs, F. C Yohn with his jSplendM sketch. ("Ono of Cromwell's Famous Ironsides") 356; Arthur L Kcllar, May flcld Parrlsh, already favorably known to magazine readers; W. G. Aylward. and many others, whose work shown here is lent by tho Century Company and by Charles Scrlbners Sons; Frank Craig's "Flight of the English Army" (383) must not be overlooked, for It is the work of one of our best illustrators and belongs to the set of "Cromwell" studies lent by the Scrlbners. The weird, almost morose and tAr rifylng subjects in which Charles Liv ingston Bull delights attract somn per sons even more than the poetic, the fanciful, tho dramatic or the realistic; this statement Is made after hearing his subjects selected for special notice and admiration for a miss of perhaps 16 years. If one should omit giving special at tention to the work of Allen B. Tal cott and of .Jules Turcas. in room B, many of the most pleasing and note worthy sketches would be missed. Anil the well-known name of F. Hopkinson Smith must not be omitted, for he has four most exquisite examples of his delicacy of color treatment, excellency of drawing and quality of vital inter est. Yet it is useless to continue men tioning names of artists or tholr works: the only thing that can avail much is to go and see them, study them with the eyes of the mind, open the heart to receive now sentiments of genuine pleasure, looking sympathetically upon what these lovers and translators of nature have tried to tell tho world by means of the brush and pencil, and come away, wiser and happier and up lifted beyond the routine of dally lite Into a glimpse of the truly beautiful, which lies within your own soul nnd which contact with these pictures has aroused to new life. ANNA VON RYDINGSVARD. Pierre was at the door; one hand behind him held the orchestra in check. "Madame is served." he formed his lips to say. but having reached "Madame," he found himself effaced by some one enter ing hurriedly a tall young man with too abundant hair and teeth, but otherwise permissible. Tho new arrival paused, took sound ings, as it were, divined the hostess, and advanced upon her with extended hand. EvI-Jently it was one of those amusing Utile incidents called "contretemps." which often happen whfe front doors are much alike and the people on the left have odd acquaintances. "I trust I am not late," the blunderer began at once. "It was so kind of you to think of me; so altogether charming; so delightful." His eyes were dark and keen, his broad. . unsheltered mouth, which seemed less to utter than to man ufacture words gave the Impression of astonishing productive powers, and Clara, though sorry for a fellow creature doom ed to rude enlightenment, was glad he was not to be an clement In her well ordered little dinner. But as her guests were waiting she gave a slight Impatient flutter to her fan. The other went on unobservant. "One can say so little of one's pleasure in a hurried note, but I assure you, my dear Mrs. Fessenden. nothing short of a serious accident" Where had she met thu formula, be fore? "Oh, Mr. Hopworthyl" she responded with a smile; . an automatic smile, self regulating and self-adjusting, like the phrase that followed. "I am so glad you were able to come." And turning to her nusoand she announced, too sweetly to leave her state of mind In doubt: "Jack, here Is Mr. Hopworthy, your aunts old friend." With her eyes she added: "Fiend, behold your work." Jack grasped the stranger's band and wrung it warmly. "I'm glad you're out again," he said. "Now tell my wife Just how you left Aunt Bates." And so saying he backed toward the door, for he could bo re sourceful on occasion. Two minutes later when he reappeared his face was wreath ed In smiles. "It's all serene." he whispered to his wife. "They have crowded In another place at your end. We'll make the best of It," Perhaps it occurred to Clara that things to be made the best of were otter: est crowded In at her end. but she haa to time to say so, for Pierre had cosae Into his own again Madaae was served. Jack led. of course, with the seiatlllea- cent Mrs. Balliagton, he having flatly refused to take In the Countess. Jack's point of view was always masculine, and often elesaeatary. ' The Countess followed with & Mr. Walker, who collected eggs and was be lieved to hare been eern at sea, which made hla Interesting la a way. Then asae, Mavaa Penaeld, yreceAmg Lena Llvlngstaa. accordlsg te the 'tannage of thetr howabaads yachts. Ia train, the whe4e precis Ion gave la every rank new evweaee or Clara's kladly fore thought. For herself, she had act aaly the smaraary. but, by perrerM fete. another. "Mr. H worthy." axpUload. bringing- both dimples Into play, "a very charming girl has disappointed us. I hope you don't xniad walking three abreast," Clara's untruths were never compro mises. When they should be told, she teld them, scorning to keep her score immac ulate by subterfuge. "Though the Re cording Angel may be strict," she oftea said with childlike faith, "I am convinced he Is well-bred." The pleasant flatter over dinner cards ended as It should. In each guest being next the persons most desired each guest, but not the hostess. For Jack's resourcefulness having accomplished the additional place-, stopped short, and his readjustment of the cards, which had been by chance, had brought the Envoy upon Clara's left and given to Mr. Hop worthy the .seat of honor. For a moment Clara hesitated, hoping against hope for some one to be taken 111 for almost anything that might create an opportunity for & change of cards. But while she stood in doubt the diplo mat most diplomatically sat down. Be yond him the Countess was already draw ing off her gloves, as though they had been stockings, and further on the gen tleman born at sea seemed pleased to And his dinner roll so like an egg. It was one of those unrecorded trage dies known only to woman. The failures of a man leave ruins to bear testimony to endeavor; a Roman's edifice of cott web falls without commotion, whatever pains its building, may have cost, "I gave you that seat." said" Clara to the diplomat in dimpled confidence, "be cause the window on the other side lets In a perfect gale of draught" "A most kind draught to blow me nearer my hostess's heart," he answered much too neatly not to have said some thing of the sort before. Fortunately both the Envoy and the Countess appreciated oysters, and before the soup came, Clara, outwardly herself again, could turn a smiling face to her unwelcome guests. But Mr. Hopworthy was bending toward Maude, who seemed very much amused. So was the man between them, and so were several oth ers. Already he had begun to make himself conspicuous. People with broad mouths always make themselves conspicuous. She felt that Maude was gloating over her discomfiture. She detected this in every note of Maude's well-modulated laugh, and could an Interchange -of beak ers with the stranger have been sure ot Florentine results. Clara would have faced a terrible temptation. As It was, she asked the Envoy If he had seen the Automobile Show. He had. and by good luck machinery was his favorite topic, a safe one, leav ing little ground for argument. From machinery one proceeds by certain steps to things thereby created, silk and shoes and books, and comes at length, as Clara did. to silverware and Jewels, pearls and emeralds. And hem the Countess, who mistrusted terrapin, broke in. She had known an emerald larger than ttn sec-Mr. Walker looked uo hopefully. It bad been laid by royalty at the feet of beauty Mr. Walker, who had been about to speak, resumed his research, and the Countess held the floor. She woro a bracelet given her by a po tentate whosse title suggested snuff, as a reward for great devotion to his cause, and Its exhibition occupied a course. Meanwhile the hostess, as with astral ears, heard snatches of the conversation all about her. And do you think so really, Mr. Hop- worthy r "Ob. Mr. Hopworthy, were you actually there?" "Please tell us your opinion Evidently Jack's aunt's acquaintance was being drawn out, encouraged to dis play himself, made a butt of, in point of fact. This came from taking Maude Pen fleld Into her confidence. There was al ways a streak of something not exactly nice In. Maude. As Clara, with her mind s eye, saw the broad,. Hopworthlan mouth In active operation, she felt the feminine instinct In such matters Is unerring that Butler Penfleld cherished every phrase for future retaliation at the club, and Lena Livingston, who. never laughed, was laughing. After all. If foreigners are often dull, at least they have ho over mastering sense of humor. "My Order of the Bull wa3 given me at 28." the Envoy was relating, and though the story was a long one, Clara listened to It all with swimming eyes. "Diplomacy Is full of intrigue as an egg of meat," it ended, and' once more Mr. Walker looked up hopefully. Again the hostess forced herself to turn with semblance of attention to her right. But Mr. Hopworthy did not appear to no tice the concession. He did not appear to notice anything. He was haranguing, actually haranguing, oblivious that all within hearing ot his resonant voice re garded him wlthyopen mockery. Jack, in the distance, too far away to apprehend the truth, exhibited his customary un concern, for Jack's ideals were satisfied if at his table people only atcenough and talked. And perhaps It was as well Jack did not comprehend. "To illustrate." the orator wns saying fancy a man who says "to Illustrate" "this wine is, as we may say. dyophyslt Ic" here Mr. Hopworthy held up his glass and looked about him whimsically "pos sessed ot dual potentialities, containing germs of absolute antipathies" Even Jack, could ha have heard, must have re sented the suggestion of germs in his champagne. "Perhaps you would rather have some Burgundy with your duck." suggested Mrs. Fessenden. with heroic fortitude, and Mr. Hopworthy checked his train of thought at once. "Aye. madame," he rejoined, "there you revive an ancient controversy." "I am sure I did not mean to," Clara said regretfully, and Mr. Hopworthy smiled his most open smile. "A controversy," drawled Lena Living ston, "how very odd!" "It was. Indeed," assented Mr. Hop worthy, and went on: "Once, as you know, the poets of Reims and Bcaune waged war in verse over the respective claims of the blond wine and the bru nette, and so bitter grew the flght that several .provinces sprang to arras, and Louis XIV was forced to go to war to keep the peace." It was pure malice in Maude to show so marked an Interest in & statement so absurd, and It was fiendish In the rest to encourage Mr. Hopworthy. Even the most Insistent talker comes In time to silence If nobody listens. "Oh. Mr. Hop Hop Hopgood." cried GONORRHOEA, GLEET, SYPHILIS. HYDROCELE, VARICOCELE, LOSS OF MANHOOD, RHEUMATISM, ECZEMA ASTHMA and SKIN DISEASES. We want every man afflicted with the above diseases to honestly Investigate our special system of treatment. We in vite in particular all who have treated elsewhere without success, all Wh&s eases have been abandoned by family ph7s!c!aas and so-called SPECIAL ISTS," all wh& troubles hare heea ag gravated and made worse by the ae Of BKLTS, FRBK SAMPLES, TRIAL TREATMENTS aad so called "SPECIF ICS. We will explain to yeu why avea treatment -has failed to cure you, and will demonstrate to year eatlra satis f actios that we eaa care you safely. auiekly aad permanently. Oar ejeaasei wltt eest nothing, aad we will do by yea. aa we would wwa you to le by us If ear eases were reversed. Write far ear hoate treatanst If yea eeaaot ealL THE PR. LiEBIG STAFF Kaais S aad 7 Wlaeaiatw aTn'a. M. aad 'BJaGaaJ,, Jf VCVaaaaa)Ca ' Pfc the Countess, "If you are a savant, per haps you know my Axel." "And have you taken out a patent for your axeir asked the diplomat, whose Bind reverted to mechanics. The Countess favored him with one glance through her lorgnettes a present from the exiled King of Crete and straightway took her bag and baggage to the hostile camp. For, of course, the young Count Axel was known to Mr. Hopworthy, or at least he so declared. "Pleas tell me how you won your Or der of the Bull." said Clara, to the diplo mat, her one remaining hope. "I think I mentioned that Just now," he answered, and conversation perished. And thus the dinner wore away, a grim succession of demolished triumphs. When after an aeon or two Clara gave the sig nal for retreat, she sought her own re flection in the glass to make sure her hair was still Its normal brown. "Clara," said Mrs. Penfleld. when the. ladles were alone, "you might at least have warned us whom we were to meet." Mrs. Fessenden drew herself erect. Her breath came fast, her eyes were bright, and she had nearly reached the limit of forbearance toward Maude. "Mrs. Penfleld" she began with dig nity, but Maud broke in: "I must have been a baby not to have recognized the name." Clara hesitated, checking the word upon her lips, for with her .former friend, to be Inelegant was to be sincere. '1 do not understand," she substituted prudently. "To think, my dear, of your being the first of us to capture Horace Hopworthy and keeping It from me." cried Maude. "I am sure I mentioned that we hoped to have him." murmured Mrs. Fessenden. "So sweet of you to give us such a sur prise, it was most delightful," Lena Liv ingston drawled. "Your house is always such a Joppa for successful genius." declared Mrs. Balling ton, "or is it Mecca? I've forgotten which. How did you come to know he was in town?" "Jack's relatives In Boston always send us the most charming people with let ters," answered Clara. "Shall wo take coffee on the balcony? The men are laughing so in the smoking-room we can't talk here with any comfort." Later an hour later when the last car riage door had slammed, Jack lit a cigar ette and said: "That Hoppy fellow seemed to make a hit." Clara yawned. "Yes, he was rather a fortunate discov ery." she said, "but. Jack, we really ought to take a literary magazine." Pity the. Ignorant man who thinks he knows It all. TRAVELERS' GCIDE. 0 R&ate Selected by Japanese Govera meat for Coaveylsg Jepaaese Peace 8 Envoys to the United States. 9 S. S. MINNESOTA 8 SAILING FROil SEATTLE ABOUT AUGUST lOTH e FOR e JAPAX, CHTXA, HONGKOXG. GREAT NORTHERN STEAMSHIP CO. 9 Operating the ew Twia-Screw 9 Steamers "MINNESOTA" "DAKOTA" (Length 630 feet.) (Beam 733 feet.) Tha elegance and comfort ot tha public rooms and hallways through out these ships ars unsurpassed. A most complete system of fresh air and ventilation, no crowding, Iarga sad lofty staterooms. For full information apply to any railroad agent or to W. W. KINO. General Passenger Agent. Seattle. A. D. CHARLTON', 233 Morrison Street. H. DICKSON, 122 Third Street, Portland. a CItr Ticket OfBee. 152 Third St Phoae 68- 2 OVERLAND TRAINS DAILY O Tfe rirer and the 7st lUlL m SPLENDID SERVICE UP-TO-DATE EQUIPMENT COURTEOUS EMPLOYES Tor tickets. raUs. folders and roll lafor matlon. call ea or address H. DICKSON. City Fsnsnger and Ttcksl Agt 122 Third strtet. Portland. Or. JAPAN-AMERICAN LINE S. S. IYO MAEU. For Japan. China and all Asiatic Pora. wm leava Seattl about August 2. mm days on mm (0 PUGET SOUND O "The Mediterranean of the Pacific. PUGET SOUND BRITISH COLUMBIA $23.75 Pays for 5 days round-trip to TACOMA. SEATTLE. EVERETT. BBLLINOHAM. "WASH.; VANCOUVER. BRITISH COLUM BIA, etc. Leaving Portland August 1-8. flrst-class transportation, meals and berths Included. Tha palatial ocean-going-' steamships' UMA TILLA. QUEEN. CITT OP PUEBLA. For tickets- and full Information apply Pa cific Coast Steamship Co.. 249 Washington at. booth Manufactures building. Fair grounds; Puget Sound & Alaska Excursion Bureau. Ooodnough bldg.. Sth and Yamhill ti.. Portland. Or. North PacificS. S. Co. 's STEAMSHIP ROANOKE, 2480 TONS Sella treat Columbia Deck No. 1 for Saa Fraadace aad Los Aa jcelcs, calliBS at Eureka ea rotate. SATURDAY, JULY 29, 8 P. M. SATURDAY, AUG. 12, 8- P. M. SATURDAY, AUG. 26, 8. P.M. Ticket Office, 251 Wash. St. H. YOUNG, Agt. S.F.& Portland Steamship Co. OperaXtfig the Oalj- Passenger Steamers for Saa f raacUce Da-eet. "Columbia" (3000 tons). August-4. 14. 24. "St. Paul" 2J00 tons). August 0. 19. 28. From Atnsirorth Dock at S P. it. REDUCED ROUND-TRIP RATE. 32&0O. Bertfa aad. Meats laeladed. JAS. H. DEWSON, Aeat. Fheae Mala 263. 248 WaaUegtoa St. ANCHOR LINE V. S. MAIL STEAMSHIPS NEW TORE. LONDONDERRY St GLASGOW NEW YORK; GIBRALTAR AND NAPLES. Superior accommodation. JcxciUe&t Cslitae. The Comfort o Passeagsrs Carefully Coa sldarei. Single er Round Trip Tickets Issued hct-aeca New York and Scotch. English. Irish aad all principal continents! points at attractive rates. Send for book ox touts. For tickets or general lnformatloa apply to sajr local ageat of the Aacaor Lta or to HENDERSON BROS.. Gen'l Agsats. Chicago. III. ALASKA FAST AND POPULAR STEAMSHIPS Lea-r Seattle 9 A. M. -JeaTersea.- July 30. Aug. 10. 2C, 29. "Dofeaie. Aug. i. U. 2S. . t CALLING AT KETCHIKAN. JUNEAU. DOUGLAS.' HAINBg, SKAGWAY. CenaecU Trtth W. P. Sr T. routs for Atlin. Dawssa, Taaaaa. Xnu. etc CHEAP XX CUSHION RATBf. Oa axcarstea trips steamer cails at Sttka,. Metlakaatla. Glacier. Wraagef. ,4c, te' aMHlea ta regular pert ot call; Call or cead tar Trta to fTMasrfat Alute." 2a4toa Jfctrr," rtMc THE ALASKA S. S. C., Ttaaic Wr Co, MfOeAcSC TseOaad, Or. TRAVELER'S QUTDX. OREGON ShojtLine ajib UNION PACIFIC S TRAINS TO THE EAST DAILY. Throash Pullman standards aad tourlse lees lax -can dallr to Omaha. Chiesxn. Hoo- kane; tourist sieepisg-car daily to Kansas City: through Pullman tourist sleeping-car (personally conducted) weekly to Chicago. RecUalag chair-cars (mti free) to the Xasc oaay. UNION DEPOT. LtaTta, t ATTlvea, CHICAGO-PORTLAND 9a5 x i s-a t vr SPOKANE FLTER 8:1y- S:0ayM- For 23utra WaaJUnjtoa. Wall WJU. Lewlatoa. Cour d'AIen aad a rot Xorthera point. ATLANTIC EXPRESS p y, It-1S X v RIVER SCHEDULE. FOR ASTORIA aad SWO P. M. Daily. - except Sunday. Saturday. 10:00 P. M. 3:0O p. M. way points, connecting Daily, except Sunday. with steamer tor iiwa co and North Beach. steamer Haeaalo. Ash. t. dock (water per.). T. J. Potter" for Astoria and North Beach as follows: August 1. 8:15 A. M.; August 2. 7:30 A. M.; August 3. 7:30 A. M : August 4. 0:00 A. August 5. I1:1S A. M. FOR DAYTON. Ore- 7:00 A. M. 5:30 P. M gea City asd Yamhill Dally. Dally. River points. Ajh-Bi. except except dock (water per.) Sunday. Sunday. 1:00 A. M About FOR LEWISTON. Daily. 3:CO P. M. Idaho and way points except Daily. Xtom. RIparia. Wash. Saturday. except Friday. jlicjice vnnce, antra ana itosumgios. Telephone. Main 71 C. IT. Stlncee. City Ticket Agt-; A. L. Craig. Gen. Passenger Agt. EAST m SOUTH UNION DEPOT. Arrive. OVERLAND EX. PRESS TRAINS (or fl'. hue. burg, Ashland. Sacramento, Og fien. San Fra&cU eo. Mojavc Los Angeles. El Paso. New Orleans and the East. Morning train connects at Wood, burn dally except Sunday "1th train (or Mount Angel. Sllverton. Browns ville. Springfield. Wendllng aad Na tron. Eugene passenger connects at Wood Born with Mt. An gel and Sllverton local. orvallls passenger Sheridan passenger Forest Grove Passenger 8:45 P. M. 753 A. M. 'S.C3 A. it. 5:53 P. M. 8 .-00 P. M. 10:35 . 7:30 A. M. 4:50 P. M. 530 P. M. 118:23 A. M. tl:30 P. M. 10:43 p. M. Dally. Dally except Sunday. PORTLAND-OSWEGO SUBURBAN SE3YIC3 AND YAMHILL DIVISION. Leave Portlane daily for Oswego at 7:3 A. M.r 1230. 2:05. 4. 3:3?. 0. 0:33. 7:43. 10:1 P. M. Dally except Su&day. 3:30. 00. MSi. 1055 A. M.. 1130 P. M. Sunday only. U A. it- Returning from Ovwegw arrives Portland daily 830. 10:10 A. M.. 135. 3:03. 433. U:a. tui&. 935. 11 U0 P. M. Dalur except Sunday. as. 753. 930. 11:45 A. M. Except Moa day. 1255 A. M. Sunday only. 10 A. M. Leave from some depot for Dallas and In termediate poiats dally. 8 P. M. Arrive Port land. 10:10 A. M. The Independenee-Monmnnth motor Una operate daily to Monmouth and; Alrllo. coa ntctlnr with S. P. Co. tralne at Dallas aad Independence. First-class fares from Portland to Sacra mento and San Francisco. S20: berth. 33. Eecond-class fare. 913; second-class berth. S2.50. Tickets to Eastern point and Europe. Als Japan. China. Honolulu and Australia. CITY TICKET OFFICE, corner Third and Washington streets. Phona Main 712. TllWE CARD 0FTRA1NS PORTLAND Tl A TT7T- Depsxt. Antra. Yellowstone Park-Kansas City. St. Louis Special for Chehalla. Csntralls, Olympla. aray'a Harbar. Eouth Bend. Tacoma. Seattle. Spokane, Lewli tca. -Butte. Billings. .Den ver Omaha. Kanas City, fit. LouU and Southeast. 833 a a 43U 9 a 3-orth Coast Limited les- I trio ugnteo. ""4 EtatUe. Spokane, Butte. J Snaeapclis. St- laul and p tha Eaui - ::O0 p ra t:Cft a a cs chain. Centraila. Ta- STISd Seattle only... 430 pm 1034 a twbv City Express for Ta jSa, SeatUe, Spokane. HeTtaa. Butte, rellow- rtnrT. Taj-k- Minneapolis, It Paul and th. Est..U: p m 03 9m . p. Charlton. Assistant General Pna-. ger AgentTaCS MarrUoa st ooras Third, Portland. Or. Astoria & Columbia River Railroad Co. Laaves- UNION DEPOT. Arrivx Sally For Maygers. Rainier. Daily.. Clatskaale. Westport. Clifton. Astoria. War renton. Flavel. Ham S:Se A. il. mond. Fort Stevens. U 54) A. M, 230 P. M. Qesrbart Park: Sea Bat, only. side. Astoria and Ssa bore. Express Dally. 7:0 TV - Astoria Express. 930 P. M Er. Sat. Dally- a A. STEWART, X. a MAYO, CaeiSa'l Agt. 243 Alder st. Q- F- A P.' Xi. Phone Mala 90a. For South -Eastern Alaska p Steamers leave- Seattle P. M. 59 6. S. Humboldt, S. S. City rA of Seattle. S. S. Cottage City. i July 29. 31. Aag. 4 ST. 12. ijsxcursioa b. a. ogsrase leaves August 3. 17. "Pnr Saa Frajaeiiee liret- Qaeea. City of Paebta. TJsaa tilla, 9 A. M-, August 1. . Portland Oiie. 219 Washington st Mala 229 Saa Fraaclaea? Oregon City Boats. Leave Purllaad (week days)! 3 A. . 113 A. M.. 3:3 P. M. - Leave Oregon City 1 A. M.. I Tl M. 530 P M f ztoa-a'ay saeeUJ' leave PorUasd. 9M Hi 1I;3 A. M.: I:9. ami 5P.X. JRoats for Salear aad. way' leave 5:4 A M. LLSa) I Orasa "c&y3 Traa T Dck. foot Tay fcr 'st IJ c PJIONH MAIX 4a. ' f