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away, and was ruined. His stock of goods was She was meditating deeply, but what was in seized, and the house was saved only through her mind Anson never knew. She had grown the firmness of Anson.
more and more reticent of late. She sighed, Flaxen shut her lips and said nothing, and rose, and resumed her evening tasks. he could not read her silence. One day she One raw March evening, when the wind was came to him with a letter.
roaring among the gray branches of the maples “Read that !” she exclaimed scornfully. like a lion in wrath, some one knocked on the He saw that it was dated from Eau Claire, door. Wisconsin.
“ Come in!” shouted Anson, who was giv
ing baby her regular ride on his boot. DEAR DARLING WIFE: I'm all right here with “Come in!” added Flaxen. father. It was all Gregory's fault; he was always
Gearheart walked in slowly, and closed the betting on something: I'm coming back as soon door behind his back, and stood devouring the as the old man can raise the money to pay Fitch. cheerful scene. He was poorly dressed, and Don't worry about me. They can't take the house, anyway. You might rent the house, sell wore a wide, limp hat; they did not know him the furniture on the sly, and come back here. The till he bared his head. old man will give me another show. I don't owe
“Bert!" yelled Anson, tossing the baby to more than a thousand dollars, anyway. Write his shoulder, and leaping toward his chum, Your loving
WILL. tramping and shaking and clapping like a mad
man — scaring the child. Anson went quietly on with his work, mak- “My gosh-all-hemlock! I 'm glad to see ing a living for himself and Flaxen and baby. ye! Gimme that paw again. Come to the fire. It never occurred to either of them that any This is Flaxie" (as though he had not had other arrangement was necessary. Kendall his eyes on her face all the time). “Be'n sick?" wrote once or twice a month for a while, say- Bert's hollow cough prompted this question. ing each time," I 'll come back and settle up," “Yes. Had some kind of a fever down in and asking her to come to him; but she did Arizony. Oh, I 'm all right now,” he added not reply, and never referred to him outside in reply to an anxious look from Flaxen. her home, and when others inquired after him “An' this is—" she replied evasively :
Baby - Elsie,” she replied, putting a fin“ He 's in Wisconsin somewhere; I don't ishing touch to the little one's dress, motherknow where.”
like. “Is he coming back ? "
“Where 's he?” he asked a little later. “I don't know."
Anson replied with a little gesture which siShe often spoke of Bert, and complained of lenced Bert at the same time that it explained. his silence. Once she said:
And when Flaxen was busy a few moments “ I guess he 's forgot us, pap."
later, Anson said : "I guess not. More likely he's thinkin' “He's gone. I'll explain later." we've fergot him. He 'll turn up some bright At the table they grew quite gay talking mornin' with a pocket full o' rocks. He ain't over old times, and Bert's pale face grew rono spring chicken, Bert ain't.” (“All the same, sier, catching a reflection of the happy faces I wish the 'd write," Anson said to himself.) opposite.
“Say, Bert, do you remember the time you The sad death of Kendall came to them threw that pan o' biscuits I made out into the without much disturbing force. He had been grass an' killed every dog in the township?" out of their lives so long that when Anson Then they roared. came in with the paper and letter telling of “I remember your flapjacks that always split the accident, and with his instinctive delicacy open in the middle, an' no amount o’heat could left her alone to read the news, Flaxen was cook 'em inside,” Bert replied. awed and saddened, but had little sense of per- Then they grew sober again, when Bert said sonal pain and loss.
with a pensive cadence: “Well, I tell ye, those “Young Kendall,” the newspaper went on were days of hard work; but many 's the time under its scare-heads, “ was on a visit to La I've looked back at 'em these last three years, Crosse, and while skating with a party on the wishin' they 'd never ended an' that we 'd bayou, where the La Crosse River empties into never got scattered." the father of waters, skated into an air-hole. “We won't be again, will we, pap?" The two young ladies with him were rescued, “Not if I can help it,” Anson replied. “But but the fated man was swept under the ice. how are you, Bert? Rich ?” He was the son," etc.
Bert put his hand into his pocket and laid When Anson came back Flaxen sat with a handful of small coins on the table. the letter in her hand and the paper on her lap. “ That 's the size o' my pile— four dollars,"
he said, smiling faintly; "the whole o' my three The eaves were dripping, the doves cooing, the years' work."
hens singing their harsh-throated, weirdly sug“ Well, never mind, ol' man. I 've got a gestive songs, and the thrilling warmth and vichance fer ye. Still an old bach. ? ”
tality of the sun and wind of spring made the “Still an old bach.” He looked at Flaxen, great rude fellows shudder with a strange deirresistibly drawn to her face. She dropped her light. Anson held out his palm to catch the eyes; she could not have told why.
sunshine in it, took off his hat to feel the wind, And so “Wood & Gearheart” was painted and mused: on the sides of the drays, and they all continued “ This is a great world—and a great day. to live in the little yellow cottage, enjoying life I wish t' it was always spring." much more than the men, at least, had ever “Say,"began Bert abruptly," it seems pretty dared to hope; and little Elsie grew to be a well understood that you 're her father -- but ** great girl," and a nuisance with her desire to where do I come in ?" "yide" with “g'an'pap."
“You ought to be her husband.” A light There is no spot more delightful in early leaped into the younger man's face. “But go April than the sunny side of the barn, and Ans' slow,” Anson went on gravely. “This package and Bert felt this though they did not say it. is marked Glass; handle with care.'”
ITALIAN OLD MASTERS.
BERNARDINO LUINI.-BORN, —; DIED, 1533 (?).
T is a curious commentary quired only in the studio; and Da Vinci had on the artistic discrimina- so many pupils that Luini and many others tion of the sixteenth century might easily escape mention. In that region that one of the sweetest of and time the genius of the master so overits painters was so unknown shadowed all other talent or reputation that a in his own day that there is man in poor circumstances, and of obscure posino record of his birth or tion, such as Luini, would hardly attract the
of his death. We know so attention of a society accustomed to brilliant little of Luini's life and circumstances that if achievement and showy qualities, to which we would have a biography, we must construct Luini never attained. His tender sentiment one from the internal evidence of his works. and delicate drawing are not of the kind of art The first signed picture is a Madonna in the which attracts the careless observer, and that Brera Gallery of Milan, of 1521, and this seems his work has come down almost to our own to mark a point of departure, and serves to day without the distinction it merits is the best divide hypothetically his unripened work from proof that he was not of those who catch the that by which we estimate his powers. He has public eye at any period. always been considered a pupil of Da Vinci, The work supposed to be his earliest is in but we have no other evidence of this than the the Brera Gallery and the Royal Palace, Milan; character of his work. Only six of his pictures it consists of a number of fragments of frescos are dated, moreover, so that we have hardly the from the Casa Pelucca near Monza. They are data for an authoritative classification of them. mostly subjects from the Old Testament, but The singular and salient fact of Luini's artistic there is a series of mythological subjects, as an existence is that for so many years he was so Apollo and Daphne, etc. The frescos of Sta. completely confounded with Da Vinci that there Maria della Pace, which are now in the Brera, are more of his pictures which have passed for or in the Museum of Archæology, are supposed the work of Leonardo than we have of Leo- by Mongeri to have been painted about 1524, nardo's own. It is possible that the fixing of his and to be the next in order to those of the Casa style in 1521 was a consequence of his having Pelucca, as they show the painter's peculiarities come into contact with Da Vinci. That he did of style, while those of the former series vary actually profit by the instruction of the master so much as to have given the idea to Cavalcais most probable, for the similarity of technic selle that they were painted in coöperation with which has been the cause of the confusion be- Suardi, whose children and those of Luini (the tween the two painters could hardly have come latter had three sons who became painters) merely from a general impression of the elder painted in much the same manner. Luini was painter's work. Studio traditions are to be ac- a poor man with a large family, and executed a very great number of works, those of the From Milan he went again, in 1529, to Lugano, earlier period being mostly, so far as distin- where he painted a Passion, in which the prin guishable, in fresco, and, whether from haste, cipal scenes of the Agony are enacted in the as a result of being poorly paid, or from being background while the Crucifixion takes place in carried out by pupils, of very unequal execu- the foreground. Dohme considers the figures tion. But he was capable of very rapid work; of the Magdalen and St. John to be among thus the “ Flagellation” in the Ambrosiana, a the finest in Italian art. Here the painter fresco occupying one side of the chapter-hall, introduces as a centurion the supposed portrait was begun in October, 1521, and finished in of himself, and as the same head occurs in March of the next year. The" Flagellation" oc- another picture, the “Adoration," at Saronno, cupies the center, with portraits of six donors on Dohme very reasonably accepts it as the aueach side, all excellent examples of portraiture. thentic portrait, rejecting the traditional por
After 1522 Luini was called out of Milan to trait in the “ Christ among the Doctors," in work, and painted in Legnano an altar-piece in the Church of the Blessed Virgin of Saronno. fifteen compartments. In 1525 he was invited There is record of his painting at Lugano in to paint in the Church of the Blessed Virgin of. 1529–30 and in 1533, and the last date is the Saronno, near Milan, where he worked in com- latest note of the existence of the painter. pany with Gaudenzio and two other painters; Ruskin deserves the credit of having been and on his return to Milan he was commissioned one of the earliest to give Luini full justice. by the Bentivogli, the dethroned lords of Bo- He considers him a better draftsman than Da logna, to paint the partition wall of the Church Vinci, but this is a judgment the justice of of St. Maurizio, by which they wished to show which depends on definitions. If we are to their recognition, in their exile from their own take into consideration all the qualities of the realm, of the hospitality of their kinsmen the artistic expression of form, it cannot be mainSforzas. One of the subjects is St. Benedict lead- tained, and in subtlety of line alone it can ing Alessandro Bentivoglio to the altar, and an- hardly be held, for when he had a form to folother is St. Agnes performing the same office for low no one could surpass Da Vinci; but in his wife, who was Hippolyta Sforza. In the the feeling for beauty of line and tender exprescloister of the church he painted a series from sion coupled with subtle drawing, I believe the Passion, of which the Crucifixion was in oil. that Luini justifies the praise of the critic.
W. J. Stillman.
NOTE BY TIMOTHY COLE ON THE “ST. APOLLONIA
his latest works — those of his third, or “blond,” one must get within the altar-railing, for the effect of the manner, in which he attains his fullest strength and slanting light from without causes a delicate purple independence. The Church of Monastero Maggiore, bloom to suffuse the whole of the surface, and this, formerly St. Maurizio, is a very temple of his art. though very beautiful, conveys a false impression. I
Luini's “ blond” manner is a warmer and less heavy had not suspected anything wrong until I got within style of coloring than he had previously practised; the the railing, when I found that the under-robe, which name does not imply that his frescos are any more blond, I had taken to be of a charming purple hue, was in fact generally speaking, than those of any other artist. dark brown. In like manner the other colors were more
The detail given, St. Apollonia, is part of one of the or less affected. The sleeve of the saint is pea-green, painter's most beautiful single-figure pieces, a fresco to of a light, delicate, lively tone, soft and very pleasant the right of the high altar in the Church of Monastero to the eye. Her mantle which falls over her shoulder, Maggiore. I was much struck with the grace and ease is of a bright orange, yet neutralized to harmonize of the pose; but the beauty of the face, so tender and delightfully with the rest. The lining of this mantle, full of emotion, made me wish to engrave this part turned up by the elbow, is of a soft, neutral tone of alone. I have made, however, a three-quarter length, blue. The lining of the robe falling beneath the arm thus giving the head larger than it would have been is of the same tone of blue, but its exterior is of a fine had I done the whole figure, as well as showing the crimson, softened and glowing. A portion of this robe composition of the principal motive. Much of the ex- falls over the left shoulder, displaying its lining of soft pression of a face is necessarily lost in engraving it on blue. The cover of the book is green. The background a small scale on wood.
of the whole is of a soft, dark sea-green, its inner square The attribute of St. Apollonia is a pair of pincers of a soft blackish tone tinged delicately so as to suggest holding a tooth, in allusion to the torture she suffered a reddish feeling. The hair of the saint is of a warm in having all her teeth extracted previously to being silvery color, and the flesh-tints are soft and warm. The burned. She is the patron saint of sufferers from tooth- combination of the whole is very delightful and charmache. Besides the pincers, she holds the book as sig- ing. The best way to appreciate the beautiful glow of nificant of her learning, and she bears the martyr's the picture is to stand at a little distance and to view it palm.
through a tube, shutting out all else, and thus concenThe fresco measures six feet high by two feet seven trating the vision upon it.