The Brooklyn Daily Eagle from Brooklyn, New York • Page 21

THE BROOKOT DAILY EAGLE SUKDAY, JUNE 27, 1897. 21 ono could write as he does about the suffer I)U MAUKIER'S LAST NOVEL GALLERY AND STUDIO. General Lee's command when that officer was in Texas. He has his story to tell: a forgotten one. His company of eigbty llve, un less carriage and bicycles in the view and stately houses where before were only comfortable ones.

Yale College Is pictured in tho July Scrlb ner with satisfying clearness, yet with really artistic handling of the subjects, by Orson Lowell, a man whose technic combines a Just degree of both breadth and detail. W. N. Leigh, an artist of whom the same may bo said', although he runs more to impressionism, takes the raw edge oft from the tall buildings of New York by his just placements of shadow and diversions of people or groups; because, in spite of his pencilled flattery the average tall building is a graceless, dlsproportioned and unsightly structure; but it has come to stay, for the earth under it costs more than it did when New Yorkers owned their homes and men did business for themselves. Old documents and an old portrait of John Cabot appear with a few sketches, and C.

D. Gibson interests us anew with a batch of London people he could find as good In New York if he liked, or In Washington among whom are George Du Maurier and Phil May. the latter showing age, in spite of his pleased expression, and the other a regular Cockney, one wojild think, fiom his face and attitude. Certain of the various excellencies of the late William Morris are set forth by Walter Crane. One of them is a set of page ornaments for a manuscript copy of Omar's Rubalyat, a kind of work that might set some other artists to thinking and doing, for the opportunities here for valuablo and original ornamemtare unlimited.

The monks did things of tfEit sort and did them well. Castalgne is the' maker of tho frontispiece, which represents Pelagla posing as Aphrodite in the amphitheater. In "Hypatla." Tho form, nearly nude, is virginal and graceful, yet lithe, ample footed and strong. C. M.

S. SOME POINTS OF VIEW. ple, which was modified and adapted for the purpose, especially the last sixteen chapters of Exodus and considerable passages in Numbers. The old primitive or 'sacred' history ot the people was used as the framework of narrative for the entire system of prescriptions and requirements, and of laws and ordinances for restored Judaism, which It was the special purpose of the priests and scribes to consecrate. This sacred history had been compiled in the time of Hezekiah, after the fall of Samaria, and near the end of the Eighth century, B.

C. mainly from two older versions, one of which bad been produced In the Northern kingdom, and the other at Jerusalem, from half a century to a century before. This material constitutes the bulk of the Book of Genesis and the first part of Exodus, and is traceable in fragments through the other books." The productions, of the Northern writer, he who wrote'amid the surroundings ot tho kingdom of the ten tribes, are called the "Jehovlst" or "Yahwlst" materials, he who wrote at Jerusalem is characterized as the "Elohlst." The distinction has Its origin in the titles which each writer uses in speaking of tho Supreme Being. It Is claimed both narratives were made up from the legends and traditions, oral or written, which were in existence among the Hebrew people, and that each writer used more or less of the myth lore of Babylon and Assyria in his accounts of the creation, the flood, etc. The compiler of Hezekiah's time is believed to have used both narratives, transcribing or patching them together, not always very skillfully, so clumsily, in fact, that it has not been difficult to separate out the characteristic portions of both narratives.

One of the things which Mr. Fiske has done is to separate some portions of the sacred text into the original parts, pointing out the differences between them. Thero are claimed to be frequent instances of where one overlaps the other. Modern criticism has found a certain ethnic significance in much of the narrative given In Genesis and these conclusions are carefully pointed out by the author. Mr.

Fiske has made a striking and most interesting presentation of his subject and the careful perusal of his book will interest those who desire a clear understanding of the claims of modern scholarship as to the nature and structure of the book of Genesis. Edward Everett Hale's Stories. Of all the busy men in this busy world, certainly, Edward Everett Hale is one of the busiest. His activity is so continuous that one might almost think it the result of nerves were he not so placid easy going with it all. The V.

ograpaiical dictionary says he was 75 on the third of last April; the figures may be accurato enough so far as a question of mere mathematics gees, but everybody knows that the sum total of the years nas very little do with one's real age. There are men who are aged at 30, decrepid in everything uat constitutes manhood; there aro olher Theater and the smaller attractions feel the effect of the boom. To morrow, the second season of the floating roof garden will open under more than usually good auspices. At 8:15 In the evening the steamer Grand Republic, gaily decorated and brilliantly illuminated, with flags dying and band playing, will leave her dock at the foot of West Twenty second street. New Ycrk, and will steam directly to Battery Park landing, and to Brooklyn Bridge dock in Brooklyn, her last landing, where she leave about 8:45 for a sail down to the ocean.

TCie floating roof garden 'band ot thirty picked musicians will entertain with a programme of selected numbers until sha leaves Brooklyn Bridge, when the performances, the distinguishing feature of theso daily evening excursions, will commence on two stages simultaneusly. From this point neither stage will be without an act until the finale, which occurs as the boat lands at 11:15 after a sail, attended by a novelty not to bo experienced in any other amusement enterprise. The programme for uae opening week jf is headed by Willis I'. Sweatman. Maud gent.

Master Walter Leon, and includes Solo Sunetaro, Harry Howard, Vera King, Vlnnle De Witt. Clara Schlee and enough" others to make two performances seldom tr be excelled by any roof garden or vaudevilla house in tho city. A change of bill fo each week is provided. The Grand Republic will leave on her schedule time, promptly, every evening, including Sunday, rain or shine. Ample provision is made for inclement weatber, which will permit the sailing of the boat, even if It is unpropitious.

Manager William T. Grover, who originated the scheme of a floating roof garden, is again at the helm, and will see to it that the comfort of all Is secured. The Brooklyn Music Hall bill for this week is headed by Sullivan and Sullivan, a London team unknown here as yet, In a sketch called "Mrs. Grogan's Daughter." Others in the list are White and Williams, comedians; Gertie Gilson, supported by four mandolin players; John C. Fox and Katie Allen in "The Flat Next Ediiie and Josle Evans; Miss Winifred Stewrrt, contralto; Waller and Waller, and Melrose and Elmer.

The following performers will appear at the Alhambra Mi.sic Hall, 214 Fifth avenuo, this week, uadwr the management of G. 3. Woodward: Sabra Lonsdale, Bell Darling and Pearl Hight; A sacred concert is given every Sunday night at o'clock and an extra matinee on Saturday at 2. The Stage All Around the World. Ritchie Ling will appear with Vernona Jar beau in Do Koven Smith's new operetat, "A Paris" Doll," next season.

Frederick Wurde probably has a good play foi the coming season. Ho will bring out elaborately "Iskander." by W. D. Eaton, who has not written many plays but has done other work which shows uncommon imagination and dramatic gift. Mine.

the vocal teacher, will make a six months' tour of this country, beginning October IS, examining voices and teaching. Her contract calls for six hours' work teaching a day, and her manager, E. Johnson, is fixing up a schedule of prices on the basis of taking tCae traffic what it will bear. Wagenhals Kemper, who have been identified with the management of Louis James for the past three seasons, have accepted for production early In August a comedy from the pens of Marie Madison and Frank Holls, entitled "Twin Saints." Theodore Babcock has been engaged to create the principal role, for which he has secured his release from W. H.

Crane. Mary Shaw will play Marion, the bibulous milkmaid in "Tess," with Mrs. Fiske next season, Annie Irish, who created the part, having gone with Mr. Crane as leading woman. Frederic De Bellville will succeed Charles Cngblan as Alex D'Urberville.

Certainly Mrs. Fiske is not afraid ot strong support. The star actresses who hire $200 a week leading women arc few indeed. Denman Thompson will enter the field again next season in his famous role ot Josh Whiteomb in "The Old Homestead," opening the first engagement at the Montauk Theater, September 13. The veteran actor will be supported by the company which has contributed to his success of many past seasons.

No expense will be spared to stage the old play and the management will bo under the charge of Washington Kilpatrick and Mr. Thompson's son, Frank Thompson. Rome has had a bad time of it, theatrically speaking. The most fashionable theater, tho Teatro Argentina, brought out Sardou's latest drama. "Spiritism," which proved a flat failure, not only the critics but even the public showing decided opposition.

The performance of a new comedy, "The Brothers," by Sabatino Lcpez. in the Teatro del Vaile, was the cause oL quite a seandai, because of an iinsa production, and at the Teatro Nazlonale Mascagai's opera "Zanetto" also a failure. "Under the Red Robe" still runs on at the Empire in New York this week. The "Round of Pleasure" has but this week longer at the Knickerbocker, and her play. town are "Tho Girl From Paris" at the Herald Square, "The Circus Girl" at Daly's and "The Whirl of the Town" at the Oa.sino.

The Metropolitan rchestra goes on with its fine concerts at the Madison Square roof garden, while root gardens at the Casino. Olympla and Koster Bial's offer less excellent but more popular en'ertaitimrnt. no of tho music halls or continuou. i ie, houses shows any sign of closing for the heat. W.

H. Neidlitmf r. formerly well known In has been giving a concert of his own composition iu Paris, including twenty of hi.s songs, whi are n.it as wetl known at heme as they drserve to be. Of thi performance a writer in the Mtisie.il Courier "The music is no: the product of an ordinary or usual uiiud, neither can it be sung by ordinary singers; no: that the demands the voice are great, but it requires more than average intelligence to interpret it. Mr.

Neld 's music is entirely apart from any of to day, and is quite, if not entirely, intellectual. If lie does not write the words, then he sc leeus them from the poets, such as Browning, Walt Whitman. Heine, etc. To read them is not always easy: to set musla to them is still more difficult. Mr.

Noldlinger is a musician and understands how to dev. lop to a greater degree the Idea of the poet by his music, for in every instance the protic idea is carried into the musical one. HUs harmonies are rich and full, while all the Kings I heard were vocal. They commanded the close attention of the audience, which manifested its pleasure by frequent applause, and cpenly attested to the success of th ma; inec." What's this? Jealousy and spire among artists? Tut. tut! Perish the thought.

Yet listen to this weird tale which Elwyn Barron sends out of London concerning the passing of Mrs. Patrick Campbell. It relates to Utirne Jones' picture of Rudyard Kipling's "Vampire." illustrating this verse of tho poem ing which that eye trouble gave his hero without having passed through the furnace himself it will be remembered that Du Maur ier was oneo threatened with blindness; nor could those French school days have been described by one who was without intimate experience of them. One can almcst seen our author lingering lovingly over those reminiscences of a happy time. He has put so much reality into his pictures and character drawing that ono feels certain the originals must have been very real to him.

M. Bon. zig, "le Grand Bonzlg," ono of the tutors ushers Is tho English title Is no creature of the Imagination ho Is too human. Truly, the heart warms toward him, with his passion lor things maritime, his longing for a sight 01 tne sea, upon whicn nis eyes had never rested. He gets to the sea in the course of the tale, and before the sunset of that day is drowned.

A pathetic end for the courteous and gentle spirited usher, dramatic withal, but it is such an end as we feel he would have liked. The stories of these school days are prolonged a little; evidently Du Maurier had a liking for tbem. All through the book there runs this vein of warm hearted humanity. Life has its sorrows. It is true, but there is so much to be happy ovor, so much to interest one, so many opportunities for rational enjoyment.

Tho dominant note is full of The saddest por tiuua ate hobo ueajiag wuu tno uerus inroai ened blindness; at times there is almost a hopeless note about it, struggling with the effort to appear joyous and optimistic. One of the conceits is the Introduction of a letter from George Du Maurier, in which ho promises Robert Maurice now a baronet to illustrate his biography of Barty Josselin, and he gives some personal recollections of the hero. Naturally, that brings up the llustrations to the story, which are all from Du Maurier's pencil. They include several unfinished drawings found in his portfolio after his death. Everywhere there is seen that characteristic touch so apparent in the illustrations to his other novels; the pictures of tho woman are the figures with which his "Punch" drawings have made us familiar.

Whether or not you read "The Martian" for the plot you are sure to be held In delightful thrall to the end by the subtle charm which breathes from every page. It is a great book, not only because it Is so unlike everything else, but by reason of that intimate human perception which gives to Its characters a realism so vivid that for the reader they actually live and breathe. "The Martian" establishes beyond question Du Maurier's greatness as a novelist. Fame in this especial field came to him late in life. had he "begun earlier as a writer of fiction there would not have been about his work that complete fascination which it now possesses.

It might have lacked a certain quality of ripeness that the years brought. However that might have been, we are conscious now tow great is our loss in that the hand of this deft craftsman was so soon stilled. What he has left behind is sufficient to attest his own greatness; for us, alas, it means a sense of loss that will strengthen as intimate knowledge of his genius increases. "The Martian" is well strewn with French phrases; it was a weakness of Du Maurier's but the publishers have counteracted it to some extent by printing at be end of the book a glossary, which will be found convenient by readers who are not familiar with coloquial French. The book is issued in excellent style, but it is to bo hoped that the publishers will soon 3ee their way clear to a uniform edition of Du Maurier's three novels.

The Yellow Book. The thirteenth volume of this curious quarterly published by John Lane in London and New York, has the same merits and the same defects as its predecessors. It does not take much of its art to satisfy a healthy taste; in fact, satiety comes so soon that one is inclined to skip the pictures and look at the literary contents. Henry Harland, its editor, contributes a clever little romance which he calls "Merely Players." He has written it with an authority that is grateful and one follows with pleasure the flash of repartee which' illuminates the story. There Is nothing deep or profound in It, but it sparkles like the amber colored liquid that both cheers and inebriates.

Richard Le Gallienne discourses on the nature of beauty, re saying some of the things about the relation between the eyethat sees and the object seen that have been said since men began to wonder why what one man called beautiful did not appeal to the aesthetic sense of another man. There are other things by less known people which will interest students of literary influences. There are so few original men that the imitators aro worth reading chiefly for the light which they throw on the power of their masters. There are two or throe stories in this volume written by men who seem to think that the reason for the popularity of this or that man lies in a trick of imparting local color or in the exploitation of groups of people from a little known neighborhood. So they have attempted to learn the trick and have succeeded only in making a lot of puppets dance.

The admission to the volume of John M. Robertson's critical essay on preciosity must have been decided upon when the editor was in a waggish mood, for the Yellow Book is probably the most notorious example of this vico In existence to day. Mr. Robertson, however, says some sensible things about the affectation of Meredith. A word ought to be said of two drawings by Ethel Reed, which are surprisingly bad coming from a young artist, who has done some beautiful decorative things.

Patten Wilson contributes among other things a picture of an Eastern town, in which he has succeeded in giving the effect of distance to the objects in the foreground. The poetry Is as good as the usual magazine verse. The Ancient Book of Genesis. Mr. Amos Kidder Fiske has made an interesting and instructive volume out of his new book, "The Myths of Israel" (Macmillans), whether its author's position is regarded with approval or dissent.

The sub title to the book is "The Ancient Book of Genesis, With Analysis and Explanation of Its Composition." Mr. Flske's effort is to set forth the conclusions reached by "tho higher criticism," as it has come to be termed, as to the origin, structure and significance of the first book of the Hebrew scriptures. It is an advantage to have these conclusions so clearly and compactly put as they are In this volume. Tho author does not claim any credit for original research, but he has devoted a great deal of time and attention to this subject, and certainly Is well qualified to present a summary of tho conclusions reached by the men who take what may be characterized as the modern view of the origin and internal structure of the sacred books. As noted above, he has confined himself In this instance to the first book of the Old Testament.

He does not write in any spirit of con troversy, but practically accepting the case of the critics as proved, contents himself with a summary of their conclusions, expressed in the form of an analysis of the salient features of the narrative as found in Genesis. "The Myths of Israel," therefore, is not a controversial work. He approaches the matter not In any spirit of condemnation, nor with any desire to attack cherished beliefs. In the opening chapter, titled "Modern Light on Ancient Scriptures," in which he briefly out lines tne successive steps which have led up to the position now taken by the "higher criticism" as to the structure of tho Hebrew scriptures, he states his position as follows: "It has long seemed to the present writer that it would be an acceptable service for soraecno in this country who was under no restraint of authority and no prescribed obligations, but accountable only to his own intelligence and conscience, to set forth for the common understanding the view of the Old Testament which modern knowledge justifies. He has thought it an advantage that this should be done by one who was not only free from theological prepossessions, but whose working life had not been absorbed In tho special study which is liable to narrow the view and impair the sense of proportion." Thait is what Mr.

Fiske has attempted to do in this instance for the first book of the sacred canon, and tho attention which ho has paid to theso studies, not as an original investigator for that he does not claim to be but simply as ono who has closely followed the conclusions flowing from the researches of em inents choiars marks him as well qualified for his task. Whether tho conclusions of modern scholarship which the author accept? so confidently meet with like acceptance from tho reader or not, it cannot bo denied that Mr. Fiske has made a very clear and interesting summary of theso results. As that is all ho has essayed to do, a full measure of success must be accorded to his book. Among the conclusions which our author takes as established beyond further dispute are theso: "The Pentateuch and Book of Joshua, or the Ilexatcuch which embody the ancient covenants and the Jewish law, wore put Into their present, form after the return from the exile in Babylon, when the Levitlcal system of the second temple was developed.

Tho code which constitutes the bulk of the Book of Leviticus, but parts of which are reiterated in the last chapters of Exodus, and scattered through Numbers and Joshua, was then formulated, and woven somewhat crudely Into the old narratives of the early history of tho peo der Captain King, fresh from duty in the South and West, had been hurried to the relict of Fort Sumter. That beleaguered post, with its effective of only sixteen men, was not to i bo relieved, however, for a storm blew the ship up coast. "If we'd got in," says the vet eran, "we'd have given old Beauregard something to worry about. As It was, we brought up so near New York that we put in at Fort Hamilton to rest and get into shape, but hardly had wo set foot there before we were hurried off again at midnight. We hadn't time to shave, to change our clothes, to get anything to eat.

At Perth Amboy wo caught a cup of coffee and a sandwich, and you bet nothing ever tasted better. We were bound for Washington. When we reached Baltimore we found the damnedest crowd in the streets. We couldn't make it out. It couldn't make us out, either, for we were rough and tough; our dress uniforms were boxed, we had hardly eaten or slept for twenty four hours and more.

Captain King wanted to get something for us to eat. It's odd. but not a soul would give us a morsel, though everybody was willing to give us a drink. It looked as though they wanted to get us drunk and break us up. But it shows what discipline will do for a company when I tell you that although wo were worn out and needed a drink tho worst kind, not one of tho boys would touch it.

Captain King went up the street to see If be couldn't get us a bite or a sup at the bakeries or shops or restaurants, but devil a one of them would sell a cent's worth. Ho camo back looking pretty black, and said he: 'Boys, you left your best friends when you left the "We were well supplied with ammunition and we watched that mob pretty close, I tell you. If they'd attempted to play with us they'd have caught it right at the belt. Regulars don't encourage, that sort of folks by firing over our heads by a damsite. We might have got hurt, but we'd have cleaned out the whole shooting match before we got through.

Well, they let us alone, and two days after the Massachusetts regiment went through, and tried to handle them with kid gloves on, and lost a couple of men. When we got to Washington we were on duty for a while near General Scott's headquarters. Say, did you ever know that a regular job of ours was to load two cannon every night and pull tne charges in the morning? Fact. The Marylanders had said they were going to steal the old general, and there was one field piece in front and another in the rear of his luuse, ready for anybody that wanted him. The poor old fellow wasneverinany danger.

Washington was a red hot secession city then. A militia company there had only one Union man in it, and they killed him. We went to the armory and arrested the pack of them, seized their outfit and jugged tho men that did the killing. Then we were sent to the front and got into the muss and staid in. Fine weather we're having, isn't it?" And I left him talking to his mockingbird, with the cat birds, thrushes, ground sparrows and yellow birds hopping and singing over the bones of the eleven thousand.

Yet, how much sadder Is a wrong or a harm that you see than one in history! That cemetery, with its cloak of green on death, its flowers and Its music, was not such a place of sorrow as a corner ot Alabama, where they were cutting off the woods. "See that place," said my informant, pointing to a clearing, "that was all marsh, last year. But they've chopped the trees off. and it's getting dry as punk." Thus we are destroying our streams, thus we are hurting our children. Is there anything so unwise as a human being? C.

M. 3. SUMMER AT THE BEACHES. "El Capitan," With l)e Wolf Hopper at Manhattan Opening of the Floating Roof Garden's Second Summer This Week. The season at Manhattan Beach has now started into full prosperity.

The beginning of "El Capitan" engagement last night completed the present contract of the management with' its patrons, and at different hours of the afternoon and evening the public: is amply provided with enjoyment at our popular watering place. Sousa's daily concert lasts from 4 o'clock until U. Pain's firework spectacle begins promptly at o'clock and ends in time to allow the visitors to hear "El Capitan," whose overture Is played at 0 o'clock. So far Sousa and Pain have attracted very large audiences and DeWolf Hopper was welcomed last night by an enormous crowd whose applause promised that the opera season will continue in good fortune. Sousa's programmes for to day will be: i l'.

M. John Philip Sousa, conductor; Jean Moermari, sa.oihe,ne. Overture, William 'Ml' Idyllic liallel Suttv (new) Ros.i:il no "I sulfas. "The "The Heiihyr." Ballad, 'l I.v, I Serenade" Gavotte, "Dame Mar; Grand Adore from "The He rbert Hidden the I'olu Lyun and Poster Wagner Drey. icnoet: ery nev) lienedicllon of nurda Trombone Pryor, Williams.

Saxophone solo, "OKI FolkK o.t Home' Motr. from hauler" Idyl. "La i 'ampanella" (nev. i Mamh, "The Stars and StriiK fur Kver alae. ktl apuan 1'i elude to 'Vanneri" 1' Mr.

John Philip Sousa liizet 11. eoml uctor. Mr. I' ranz Hell. Overture Hor.srol.s..

KleuKvl horn soi iluhib Sotik WcVr Ketter. Mr. li.oi. Hide of the Valkyries arrl Fire Cliarm Musk l'lvin U.ilkuie" Warner VaNe Ht vret. 'n.

wt I Vtr.iM from "The WIzaM of the Nile" Ileii.er:. Ti i Go.sMi..s" 11. Messrs. Wadswortli and MrssehKr. Idly "The 1 arky's Serena.

Ituvaloss! Mareh "The Strs and Strlies. mis. Tone pteture "The Kmi'mrr's Itevlew'MCllente'i "Llttlo Miss Brooklyn" is running its merry length along at Bergen Beach. There Is no of its wearim; out Its welcome for a long time to come. On Monday evening the fiftU th eonnecAUivo performance will be celebrated by the distribution of souvenirs to com memoratf! the event, which is a unique one in Brooklyn.

Th( changes which have been made in tills pretty travesty are in the nature of improvement and the atidienees are nowltept m( rr5' from tho beginning the close. The cinematograph, the nrst living picture projecting machine, is now at Bergen Beach, under the auspices ol' the 1 ntoniational Film Company, who are the manufacturers of nreir ly all the films used by the different machines of this class in this country. A novel feature of the entertainment to be given by these people will be found In the fact that they will present Brooklyn and some Hereon Beach views, and Ibat there will be new and different vU wk each day. This is made possible by the enormous stock which the company hits on hand and is constantly manufacturing for general distribution. Another new feature at Bergen Hoaeh will be an at tractive picture of l.fe in the Southland to be given by natives, it will be entitled "Down In Dixie," and will enlist the services of largo number of colored persons, fine singers i and Among the other features of tho entertainment will be a calf, walk, whieli will be executed with all the necessary gusto.

HusineHs at Bergen Ilt ach has been helped along by the warmer weather of the past week, sari all of the entertainments there new well. "Little Keil Hiding Hood." at ihe Automaton Theater attracts audience; who are delighted with the simulation of life by the marionettes. The Mystic Moorish Mazn is a of pit asure and amusement to those who like thc lr enjoyment spiced. The Oriental Theater is as popular as ever. The scenic, railway and the nig wheel are nearly always well patronized and on the floor of the now Alhninbra Dancing Pavilion thero are scores of collides.

The Tyrolean warblers on the pier give a pleasing entertainment. At the Palm Garden Rosatl's Naval Reserve Band, assisted by vo concerts which are free to the public every afternoon and evening, and Adams Woogsr's International Water Circus, in Its Improved form. Is winninc appreciation. The ElotrtinJ "THE MARTIAN" AN ENDURING MONUMENT TO HIS FAME. A Fanciful Play of Occult Influences the "Central Point in the Story Everett Halo's Short Stories Modern Scholarship and the Book of Genesis.

Tho event of the conning week in the literary world will no tho publication ot Du Maurier's last novel, "Tho Martian," in book form. The work will be sent out by the Harpers about the first of the coming month. The issue the novel in serial form has Just been completed in Harper's Magazine, and as the story has developed from month to month, there has come from almost every quarter a steadily swelKng chorus of approval. Doubtless the hearty kindness with which Du Maurier was everywhere regarded and the pathos of his death just as he had achieved the summits of literary success, has had something to do with the spirit with winch his swan song" has been received. Beyond and ahove this it has hem recognized that "The Martian" possessed a rare merit solely, to an unusual quality in the au GEORGE DU MAURIER.

thor. It was noted that, while it was not another "Trilby," it possessed merits that were fully as distinctive and equally difficult otexactanalysis. Wedo not believe that any two persons would ever agree as to what constitutes the enduring charm of "Trilby," and we are equally skeptical as to the likelihood of agreement concerning "The Martians." This broad consideration, however, may be ventured that the thing which attracts both in "The Martian" and in "Trilby" as well is not so much the story, nor the novelty of the central incident, but the manner and tho method of it the atmosphere which pervades it like a perfume. That whimsical fancy for occult forces which seems to have had such a charm for Du Maurier which is found in "Peter Ihibetson," which gives the central idea in "Trilby," is present also in "The Martian," forming the kernel from which the whole movement springs. The striking thing in "The Martian," as in this author's other tales, Is the daintiness, the Ariel like character of this occult conception.

There is nothing weird or ghostly about it, no hint or cowled mysteries echoing through sepulchral chambers. Du Maurier's are spiritual in their origin, but very human in their action. The title which he selected for this story is. well calculated to pique curiosity. There has been much speculation in scientific quarters as to the probabilities of life as we know it on Mars, and the possibility of visitors from that remote planet to our owu world has more than once engaged 'the fancy of romancers, but never have they wrought it out a3 Du Maurier has wrought it.

In their attempts to portray wanderers from Mars they have always endowed them with a distinct human likeness. Du Maurier is too artistic in his conceptions to make that mistake. His Martian is entirely imaginative and spiritual an influence and not a personality. It follows, naturally, chat this spirit Is feminine. Her "medium," who is the hero of the story, is swayed by her for years without having the slightest conception of her existence or Idea of her influence.

In the first half of the toook it is only hinted at in the fact that the hero, Barty Josselin, has a queer faculty for "feeling 'the north." He cannot explain it, does not know what it means or why it should happen, to him and it does not accomplish anything for him. Not uiKil there comes a great crisis in his career is there any indication of what this occult influence is; then its operations appear rather as an effect of somnambulism in which he has written communications that are signed "Martia." This careful avoidance of the anthropomorfic conception is artistic and full of grace; it avoids coarseness. "Martia" Is a spirit that has wandered away from her home planet; of whose life the author gives a quaint conception, describing a being very different from man, and one that is endowed with higher moral faculties. She came to earth in a ehower of shooting stars after having passed through innumerable incarnations in her own world, the reason for her visit here being that she was not well adapted for further development there. Her incarnations here do not allow of any absolute control over the wills of the person she inhabits, nor does her departure from them at all interfere with their existence or happiness as human beings.

In other words Martia is a disembodied spirit, loving up and down the earth and taking a great interest in the doings of mankind. She is drawn to Barty Josselin in his childhood because of the physical perfection with which he is endowed, and because she loved his sunlit nature and rare gifts. As he grows older, she is not always pleased with what he does and departs from him for long periods, and and at such times he ceases to "feel the north." As before stated, it is not until there comes a crisis in his life, when he is on the verge of suicide because he believes that he is to become blind, that Martia reveals herself, and then it takes the form of a letter found by hls bedside in the morning, written in his own hand, in which he is told that he will not become blind. After that, Martia takes a very initmate interest in Barty's welfare, until he marries a young woman of whom Martia does not approve, because Barty might have made a much more brilliant match. His guardian spirit leaves him, but returns when Barty's first child Is born.

Then she confesses that she was wrong, and Barty was right as to the woman ho married, and once again he feels the north. The manner in which Martia influences his alter life is to endow him with occult intelligence in the writing of novels. She becomes, as it were, a sort of sixth sense, outlines these productions at night, while in a somnambulistic condition, and by daylight rewrites and perfects the manuscripts. These productions bring him fame and fortune, but the secret of their preparation is known only to his wife and to hi3 friend, Robert Maurice, who is supposed to be author of the book. He begins with his first meeting with Barty, Josselin in the school room of the "Instl tltlon F.

Brossard," a French boarding school, near Paris. Tho section of che story that portrays tho life in the school, with all its attendant haps and mishaps is in some respects the most delightful portion of the book. It is. not a straining of possibilities to believe that Du Maurier drew largely upon his own recollections In these pictures of school life in France. It bubbles with fun and merriment and how utterly different it is from the pictures of English school days that have been given us by "Tom Brown'," and others.

Barty Josselin comes to Monsieur Brossard's school when be is 13, and Maurice has been an inmate there for some months. Barty is a Rohan, a scion of a noble English house, but his mother was, a French woman, and he was born under the bar sinister. His parents aro dead, but he has been adopted by his father's relatives, who are very proud of his physical beauty and rare mental gifts. With all those, he is a thorough boy, full of mischief, adored by his companions and tho pet of every circle. Tho friendship begun at Brossard's between Robert Maurice and Barty last3 always and Maurice becomes tho chronicler of his friend's career.

They grow up together, Barty becomes for a time a guardsman and then tiring of that aimless life tries to be a painter. It is then that he has the trouble with his eye3 which he fears will result in total blindness. In this episode, as well as in the account of Barty's life as a bohemian it Is evident that we get glimpses of the author's own career. No AN AMERICAN ACADEMY TO CREATED IN ROME. BE A Growing Lack of Need for Foreign Schools Tiffany's Mosaic of "The Last Supper" An Exhibition of Animal Pictures.

Last week the American Academy in Rome was Incorporated in Albany, N. Y. The purpose of it is to support aud encourage American studonts who go abroad for study a thing that used to be thougfat quite In tho days when America had no schools to speak of and when Its artists numbered a dozen men of the Hudson River school, a sculptor or two and a half dozen of portrait painters. The French maintain an institution in Rome where young Frenchmen go to study, ostensibly, though wfhat they can learn in that town after they have gone through the Beaux Arts, or any one of the leading ateliers in Paris it would stump the old Harry to find out. It i3 all right to visit the place and see Its churches and examine its frescoes, with a view to encouraging them never to paint frescoes so long as tCiey live, and to enjoy and profit by the sculptures in the Vatican and the museums.

An art academy in Paris or Munich would be all right, if they had no such places there already, but an art school in a town or country where art has been decadent for the past century or more Is a somewhat questionable enterprise. In fact, this whole business of foreign study has come to be a fetish. It is like ttae study of mathematics in our schools the only branch of study that to the average boy and girl is useless and the study of Latin and Greek in the colleges, studies that are sure to be dropped and never taken up again, once that the scholar gets through. We have schools for drawing, painting, designing of decorativo work, modeling, in fact, all branches of art, that are quite as good as the average sdhools abroad, and perhaps a little better in that no affronts are offered there to the student's personality or dignity. Wo have them in Boston, Chicago, St.

Louis, Cincinnati, New York and right hdrc in Brooklyn. The disadvantage of foreign study is that It appears to denationalize and depersonalize the painter, making him a poor copy of some French or German or Dutch master. Many a young American who could have attained greatness if (he had followed his own and painted what he saw instead ol something that somebody else saw, has come back after several years of training in a European capital, merely one of a thousand who painted like Gerome or Clays or this or the other man. If this new American school in Rome will help American art all are sure to wish, it well, but will it? The Tiffany Glass and Decorating Company has finished a remarkable mosaic, representing the last supper. It is 18 feet long, 9 feet high and contains nearly 05,000 pieces of favrlle glass.

The work is destined for the First Unitarian Church of Baltimore, to which it has been presented by some of its members. It is given out that when Dr. Sal viati of Venice revived the making of glass wall mosaics, his only market was in England and France. In these countries, however, the use of such mosaics has been inaugurated and enlarged by the liberality of givers, by the artistic quality of native work, by the need of glass In wall pictures in cities where smoke and gases would tarnish, and where our too frequent fires would imperil them by heat, blistering, or the ensuing steam and water. Mosaic in glass is now to be seen in the Pratt tomb, St.

Agnes' Church, New York, the Alexander commencement hall In Princeton, the Marquette Building in Chicago, with its frieze of 120 feet, and the Chicago Public Library, where there are two miles of inlays. The new picture represents a Christ and his disciples at the tabic, the master in sorrow, the disciples unhappy. All are Germanic. in type and all wear halos ex cept Judas, whose halo lucus a non lucendo Is black. While the grouping and poses aro conventional, there is, none the less, a certain freedom in the arrangement, in the management of draperies and so on, that separates it from the old master work that was done upon the same lines.

Among the exhibitions in New York that may be made before long Is likely to be a show of paintings and sculpture representative of wild animals, by American artists. The New York Zoological Society is the impelling cause in this exhibition, and its motive is to advance the cause of science, to Interest people in animals who now merely care to kill and injure them, and to enlarge the scope of animal painting. There is room in this land for good painters of animals. France has her Barye, England her Landseer and the Germans and Italians have treated them with artistic consideration, but in this country, though wild animals abounded until the railroad filled the West with hunters, the men who have seriously painted deer and bears and the like are fow, indeed. Here is a field of art nearly unworked.

and if the coming show shall have the effect of turning the attention of conventional painters to unconventional subjects, it will be well. We have too much of thin and empty matters in our art, and if there were a few who would go into the woods and observe nature as it Is and paint it as they believed 1'. to he, acd cot as some professor in Paris and Munich told them it was, our art would be more varied, more dignified, more interesting and more valuable. One of tho big sales of the coming winter will he that of the pictures assembled by the late William H. Stewart, an American who after making a fortune in trade went to live In Paris.

He was a friend of Madrazo and when Madrazo's daughter married Fortuny Stoward was brought into contact with that master, then poor and almost unknown. He was smarter than a good many native collectors in that he did not wait for Fortuny either to die or to become famous beforo ho began to buy Ms pictures. He held to every picture that he bought and he set a fashion that would have greatly increased his own wealth had he cared to sell. He likewise bought liberally of other painters that had begun to be customary in the collections; Melsrsonle r. Corot, Rousseau, Diaz, Dupre, Gerome.

Daubigny. Boldini and others, so he left a gallery that will bring to his heirs several hundred thousand dollars when it is sold in New York. Harper's for July contains probably the last work that will be seen from the pen as well as from the pencil of Du Maurier. As to the pencillngs, they are absolutely Du Matirieresque, and if the man had lived ho would, doubtless have gone In for literature, while the fow figures that he might have made would have grown worse and worse until even Punch would have refused them. Strange case, his, of a man mistaking his talent until a year or two before the end of his life.

The sketches by Paul Renouard of colebritles in the British House of Commons are so slight as to be nearly unintelligible, unless ono is familiar with the men ho represents. Sir Dilke and John Burns, for example, might bo just anybody. Caton Wood villo and the photographer give us a clear idea of what the natives in White Man's Africa are like. The four pictures by Zog baum. Illustrating phases of Sheridan's ride and the fighting that followed it, are true and spirited, as peoplo remember who are familiar with the aspects of armies and the war.

Good work Is done by Sterner, In illustration of an indoor story, by Smedley, who does not suggest prigs as he sometimes does; by Peter Newell, who Is grotesque and humorous; by J. W. Alexander, who Is slightly humorous and not grotesque, and there arc neat drawings by W. II. Hyde, Ethel Brown and Rosiua Emmet Sherwood, the latter showing how a graceful carriage ami flowing drapery may alleviate a face of no distinction or beauty.

English Ut'hograrJhy is wont be shrill, and we find specimens of it In the copy of tho Illustrated London News that celebrates the Queen's Jubilee. It is a rk that is in disae i cord with the theories of book making and acted on by William Morris, yet it nas a ccrta.n opu.onc in its scarlet and gold page borders and in the old letter in which Walter Besan.t's text has been set. The reproductions of brightly painted portraits and the Incidents in the royal career are not so good as we should have f. such a house as that of Prang, in Boston, yet they fill the eye, in a way, and, ir r.hey had been correotly registered on the press in every case, would have been still more satisfying. About tho happiest thing In the number Is a little bit of old London by lamp light on a wet night, which is designed as an offset for a colder looking it equally Interesting view of the streets by electric light, with a horse Recently I passed through some of the battle fields of the South and found it easier to picture the scenes of thirty odd years ago than it would bo to Imagine them in these unharrowed precincts.

I lay that facility to a lingering memory of the old wood cuts in Harper's and Leslie's, in which, with a certain monotony and haste of statement, the artists had represented the battles that the North was waging against those people whom we then regarded as foes not only to ourselves but to law, progress, civilization and humanity. There were tho same muddy, sluggish rivers, with their rafts and stern whoel steamers that we used to see In those pictures, the same shelving, sandy shores, the same round hills, the same snake rail fences, the same cotton fields with withered stalks strewn over, the same narrow, tortuous pikes, with a negro Jogging on a mule, instead of baggago trains and batteries floundering and climbing, the same log and slab cabins ot negroes and poor whites with stick and mud chimneys built on outside. and half naked children playing among the black and tan pigs in what might have been a yard, the same planters' houses with shade tree3 and other reminlscents of state, the same brick court house with groups of Idlers instead of officers smoking pipes before its door, tho samo reliable trees that in splto of the land's fatness seem to grow loss high and wider from each other than in our colder district. It was as If I had been there before and it was not half a task for the imagination to conjure into being a brown line at the edge of the wood, a blue line behind the fence at the far end of the pasture, and all because of those hasty, ill drawn, exaggerated cuts in Harper's. Here is a little brick church with four separate grave yards1, about it, none bigger than a city lot.

Passing through Mur freesboro, where Rosenkrantz and Bragg fell afoul of one another, there is a familiar look in its ancient court house, its limestone slabs. Its red roads and even its old breastworks, but the birds are singing, the wind is laden with the honey of clover, the lotus like flowers of a magnolia, peculiar to the region are coming out, and there Is no hint of war. Only the crumbling works, the old guns and the cemetery tell that one of the bloodiest fights of the war was ended on these farms. They are not in fighting humor now, those fellows with lank legs, wide shoulders, slouch hats and tobacco in their whiskers. Laziness In the South Is an excusable virtue.

I climbed Lookout Mountain, In a car, having first to suppress a little indignation at the way the railroad and hotel companies are misbehaving with it, and I know of few climbs that arc easier or pay better. The mountain is a ridge eighty five miles long, 1,750 feet above Chattanooga and 2,200 above the eea. There Is no mountain of anything like its height that offers a more surprising view. You climb it at the end, find It precipitous on both sides, and behold, thero Is a village cn its top a village of sensible Chattanoogans who prefer coolness to heat, air to smoke, room to an office and a view to parish gossip. The Tennessee loops under you in bends of miles and iong ridges, wooded and lonesome, roll along tho horizon In each direction.

The bottoms are filled with farms, a land of green and happy poverty, a Sabbath land of peace. On a clear day you peep into seven states, Tennessee, Virginia, Alabama, Georgia, North Carolina, South Carolina and Kentucky; but on tho day of my visit there were frequent showers and mists, so that the vlow was fitful. Fog rolled over the woods below, bringing up cool and spicy scents, and hiding, now and again, the houses and other landmarks made famous In tho war, and partly repeating the conditions that existed when Joe Hooker fought his battle here above the clouds. It wasn't much of a battle. It was a picturesque incident, It bad value as a reconnalsance, but tho captures, wounds and fatalities were few, and it merely led the way to the big battle that presently swept over Missionary Ridge tho long, green fold across tho valley.

While scrambling up the rocks, reading the Inscriptions on tho tablets and varying the view, which is as beautiful as it in wide, I learned that my guide, a rheumatic negro, had been the slavo of a Southern officer and that while following his fortune on the ridgo ho got between the fires of the contending forces. It was evidently a season of great tribulation to him. "Half the time, all didn' know which side ah was r.n. Ah only know ah was a runnin'," said he. Salisbury, N.

is tho site of the great prison where so many thousands of Union prisoners perished of disease and hunger. There is no trace of it now. It is not an institution ono would wish to see perpetuated. You shall find there a church on stono columns, with chickens resting trustfully beneath, though negro cabins are about it. A black boy was outside trying desperately to find which of tho six different ways into his coat was the right one.

Salisbury Is a thriving place, with modern looking shops, a big cotton mill big, that Is. for the South a fow bicycles, aud broad avenues of beautifully shaded mud, that you cross on stepping stones. The thing to seo Is tho cemetery, where 11,700 victims of the prison, nearly all nameless, are burled in a common field. On Fame's eternal Ki nund Their Mlonl tents an: sin en. 1, And cllory Kuar.ls, "Ua Hoemn round, The bivouac of the dead.

You find that and other verses of the poem set in bronze beside the walk as you enter. A lovely spot it Is. Never have I seen richer turf, liner flowers or more exquisite colors than those in the contrasted plumes of new and old growth In the spruces, cedars and hemlocks. A mocking bird was almost singing his head off at the lodge, and as I passed under tho treeti another gray bird flitted on beforo me, peering down ever and again, aud twittered, softly, "Easy, easy. Please come this way just a Utile.

That's right. That's right. My babies would be frightened. I know you wouldn't hurt them. Thank you." And off he goes.

Bless your happy little heart, I have no wish to harm you. Sing, enjoy your liberty, be a part of the balm and the sunshine. Tho tough old veteran, with an arm off, who Is superintendent of this cemetery, was a soldier of tho regular army, a member ol EDWARD EVERETT HAL.E. men who are scarce past the bloom of youth, In spite of crows feet and frosted Mr. Hale belongs in this latter category.

There a great deal of truth in the saying that while a woman is as old as she looks a man is as young as he feels. One cannot take up the latest collection of Mr. Hale's short stories, "Susan's Escort and Others" (Harpers), without being impressed with the quality of strength and virility which runs through them; they are as freshly imaginative, as crisply fanciful as if they came from the pen of one through whose life the airs of the morning were blowing. There is about them no touch ci jell owing sunset light or lengthening shadows. There are eighteen tales grouped together in this book, under the title of the leading story, and Mr.

Hale has written a preface which is almost as good, but noL quite, as the best one in the collection. All of them have seen the light in various magazines and periodicals, but they were so widely scattered that it is doubtful if many readers have seen all of them, so the bock is buiHi to havo something new in it for every one. Mr. Hale is recognized as a master of the art of the sfnort stcry, an art that is winning more admirers and adherents every day. It demands a certain quality which many critics have tried to define, but for which no one has yet succeeded in finding as satisfactory description.

Many novelists of high rank do not possess it; many masters of the short story are not successful when they attempt the sustained effort demanded by the novel. Even so great a short story writer as Kipling has yet to prove to the world that he can write a real novel. Indeed the impression grows that it requires some commanding genius like Dickens to acquire distinction in both fields. Mr. Hale's distinctive characteristic of mingling quaint and whimsical fancies with the commonplace Is well illustrated in the tales presented in this volume.

Some of them, like "Susan's Escort," are the veriest sort of downright fun making, others like "One Good Turn," have a profound moral lesson hidden away in the chinks of tho narrative. And then how wholesome and clear is their atmosphere vastly different from some of tho decadent things that come to us from some corners of the world. A more charming volume of tales has not been publicised this season. A Famous American Family. The history of the Walworth family in America has been written by the Rev.

Clarence A. Walworth of Albany, and is published by the Weed Parsons Printing Company of that city. Mr. Walworth has compiled a volume which will have an interest outside of tho family boundaries to which it is especially devoted. Tho Walworths In this country are descended from William Walworth of Suffolk, England, who came here in 1G8U, and settled on Fisher's Island, off the mouth of New London harbor.

He claimed to be descended from that Sir William Walworth who was lord mayor of London at the time of Wat Tyler rebellion, in the reign of Richard II. William Walworth, tho immigrant ancestor of the family in this country, came hither at the special instance of Fitzjohn Winthrop, tho grandson of Governor Winthrop of Massachusetts, and tho son of John Winthrop, whose name Is inseparably connected with the early settlement of Connecticut. Fitzjohn Winthrop had acquired possession of Fisher's Island, and William Walworth was given a lease of it that he might bring the land under cultivation. Ho remained there for a time, but subsequently removed his family to tho main land, settling in what is now Groton, on the east bank of the Thames, opposite New London. Tho destruction of the Pequolts a few years previously had removed any terrors as to Indian depredations and tho main land was thought to be safer than tho Island, which was exposed to attack from roving French privateers and to attacks from pirates.

Shortly after hi3 arrival in this country William Walworth married Mary Seaton, who came over in the samo ship with him. The couple aro believed to have resided on Fisher's Island about nino years. He died In 170.1. but the place of his burial is not known. His widow survived him forty nine years, dying In 1752, and was buried in tho old churchyard in New London, wbero her gravestone still stands.

The couple had seven children, four boys and three girls, and they intermarried with the Smiths, the Starks, the Dennisons and other families in tho town of Groton, and their descendants aro found there to this day as well as In many other and widely removed portions of tho country Tho family Is quite numerous in this state. Chancellor Walworth, the noted jurist of half a century ago, who resided at Saratoga, was a direct, descendant who reflected luster upon the family name. He was the father of our author. The reader of the volume will note that no attempt has been made to give all tho ramifications of the family, but only to indicate thy principal lines of descent. The frontispiece of the book is a reproduction of the portrait of Sir William Walworth, the lord mayor of London, as found in Northcote's painting, presented to tho City of London late in the last century, and which now hangs In the Guildhall.

A fool tie was anii tn.nle his prayer. on 1 I i aii'l a hank of hair, who do! not rare) .11. I Ids fair 1 I Tr. a r.n: and I We nailed But the In i etv. This is Barron's comment: "Now one who looks at this picture sees clearly enough that the woman is an excellent portrait of Mrs.

I'atriek Campbell. Is the likeness an accl demal effect? Not all, if gossip knows wh. reof it prattles, for the folk who go up and down will tell you that once upon a time Mrs. Patrick Campbell found this same Philip Hume Jones a most generous and helpfu! friend, but that with change of days her needs changed and she behaved unbecomingly toward her artistic benefactor. The picture like those wonderful carved has reliefs around the base of that glorious altar in Kt.

Peter's at Rome tells the knowing beholder of an artist's revenue. There is a hursh word with which London characterizes one who makes use of frit mo hip to serve his own selfish ends and. those ends sei vf ungratefully flings over the friend. 'Cadger." Ill sounding, is it not? Hardly the term to apply to a woman, one would think: yet gossip does apply It to a woman who has made a sudden descent from an Inexplicable popularity and finds few now to speak in kindness of her. Why? That offensive word is Riven in answer to one who i ks.

But that would not do for the title of a picture. "Vampire" is sanctioned by poetic authority, and has the glamour ot medieval romance upon it. and it means the same thing. Dors everyone know how appo and complete a description of a living personality is presented in the thoroughly Klplingosnue line, "A rag and a bono and a hank of Gossip again says that a taln person was even more incensed by this line than by the terrible arraignment contained in plot tiro and poem, so curious is vanity. The picture was to have been made tho basis to an nction for libel, and an intimation to that effect came to the cars of the painter.

"1 wish they would bring such an action!" grimly answered the painter. Yet. when all is said and done, is It a right flue thing to stamp art with the scars of an envenomed personal hate? One day may not the artist think it to his honor to draw ilia brush, nwww tKni likeueaai.