owner is careful to keep it concealed: but his acquaintances gravely state that doubtless he has it, "for he is very successful in catching the sea otter."

According to the Makahs one of the principal homes of the Thunder-bird is on a mountain back of Clyoquot, on Vancouver Island. Here is a lake around which are many fossil bones, and these, assert the Indians, are the remains of whales killed by the monster.

At a display of fireworks in Port Townsend a number of rockets, on bursting, showed fiery serpents. These the Indian spectators insisted betokened the Thunder-bird, and offered large amounts for pieces of the "animal," some going as high as two hundred dollars.

Among the Northwest Indians there is a performance in honor of the Thunder-bird. It is termed the Thunder-bird Dance, or Klale Tah-mah-na-wis. Concerning its origin the Nittnat Indians have the following legend:

"Two men had fallen in love with the same woman, but she would not give preference to either. Thereupon they began to quarrel. One of them, with more sense than the other, said: 'Do not let us fight about that squaw. I will go and see the chief of the wolves, and he will tell us what is to be done. But I cannot get to his house except through strategy. Now the wolves know we are at variance; so do you take me by the hair and drag me over these sharp rocks, which are covered

SHAMAN OR MEDICINE MAN

with barnacles. I shall bleed and pretend to be dead, and the wolves will come and carry me away to their house.) This was done, but when the wolves were ready to eat him he jumped up and astonished them by his boldness. The chief wolf was so much pleased with the bravery of the man that he taught

him the mysteries of the Thunder-bird performance.»

The Indians who take part in the ceremonies seek the secluded depths of the pine forests. They hoot like owls, howl like wolves, paint their bodies black

THE TAH-MAH-NA-WIS, OR BLACK MAGIC DANCE

(whence the name Black Magic), scarify their limbs to cause profuse bleeding (in remembrance of the man dragged over the stones), fire guns, pound on drums to represent thunder, flash pitchwood torches to produce lightning, and whistle sharply in imitation of the wind.

Candidates for initiation are put through an ordeal, and it is claimed by trappers and other adventurers that the shaman, or medicine-man, develops strong mesmeric power.

The Makahs usually occupy five days in secret doings, during which the courage of the initiate is proved. Among the Clallams the initiate is thrown into a hypnotic sleep.

This Black Magic organization extends from the Columbia River to Alaska. No white man is knowingly allowed to wit

ness the secret rites and live to tell the tale. Some of the details of the ritual, as permitted to be known, are closely akin to Masonry. The symbolisms The symbolisms are lofty and the purpose high. The society is powerful, and although the government officers and the missionaries

have endeavored to combat superstition, yet this freemasonry of the tribes - the Klale Tah-mah-na-wis or Black Magic — exists to-day in all the savage phases it has nurtured for hundreds of years.

IOWA CITY.

EDWIN L. SABIN.

HE great financial rewards of artistic success in London, and the readiness of "society" to open its doors to eminence of any kind, are so well known that we can hardly wonder that men and women of ambition and ability are often tempted to leave their native lands and accept the brilliant hospitality offered to them. Thus Lawrence AlmaTadema, born in the Netherlands, and Hubert Herkomer, a native of Bavaria, have become domiciled in England, and are both Royal Academicians, as also was the late Sir Edgar Boehm, the sculptor, who was a Hungarian by birth.

A most interesting figure in English society during the last third of the eighteenth century was Angelica Kauffmann, one of the only two women who have attained the rank of Royal Academicians, the other being Mary Moser.

Angelica's talent was in part inherited, for her father, Jean Joseph Kauffmann, of Vorarlberg, in the Tyrol, was a wandering artist, who, though possessing only a moderate degree of merit, could yet turn his hand to almost any kind of painting. In the course of his roaming in search of a living he came to Coire, in the Grisons, where he met, loved, and married

Cléophe Lutz. Of this union was born in 1741 the subject of this sketch, Maria Anna Angelica Kauffmann. Angelica grew up into a charming little girl, the inseparable companion of her father, whom she never wearied of watching at his easel. She soon displayed a wonderful aptitude for drawing, which her father did all in his power to develop. Under his loving tuition she acquired a skilful use of her pencil and brush so rapidly that at the age of nine she was able to help him in decorating Swiss churches. Though by no means a great artist, Kauffmann had a genuine enthusiasm for art, and was wont to fire his little daughter's ambition by telling her stories

of the great masters of painting and architecture, whom he taught her to regard as the equals of kings and princes.

In 1752 Kauffmann, having received a commission from the Bishop of Como to decorate a church, removed to Como with his family. Angelica was now eleven years of age, but, young as she was, had made such advances in pastel-painting that the bishop sat to her for his portrait. It would be interesting to know what the grave, wise old bishop, and the wonderful little girl with the blue eyes, rich red lips, and abundant tresses of black hair, talked about during the sittings, but that they had many pleasant conversations hardly admits of a doubt. When the portrait was finished the kindly prelate was so pleased with it that he spread her praises everywhere, and induced many of the visitors in Como to sit to her.

Precociously clever though Angelica was, she was also wonderfully painstaking; and, despite a degree of success that might well have turned the head of a much older person, she went on diligently with her studies.

After two years Kauffmann failed to find any more work to do in Como, and it became necessary for him and his family to set forth on their travels again. Moving

to Milan, he obtained work as an assistant to other artists. The atmosphere of Milan was a very wholesome one for a youthful prodigy like Angelica, for there her crude efforts were brought into comparison with the work of skilled painters, and she was able to secure instruction from competent teachers. Her parents wisely provided her with the best teaching they could afford. Besides her great natural talents for drawing and painting Angelica possessed a sweet voice and a correct ear, which her mother, unwilling that the artistic development of the gifted child should be wholly the work of her father, had taken great pains to train. At Milan An

gelica had excellent opportunities for pursuing the study of music, in which she attained such excellence that many friends thought that the operatic stage offered the best and most remunerative field for her talents. After living for some time in Milan, Angelica, who was now twenty years of age, was offered an opportunity of making her début in opera; and was at first much inclined to accept the offer. But the stage was not then so highly esteemed as it is at the present day, and Angelica, being a pious little woman, decided that it would be best for her to devote her life to painting.

After making her decision the young artist began to copy some of the pictures in the fine gallery of Robert of Modena, governor of the city. She did this so skilfully that the Duke regarded her with much favor and procured many commissions for her. It was at Milan that she suffered the first great grief of her lifethe death of her mother. This painful event made her father anxious to leave the city, which he was soon able to do, for he obtained from the Bishop of Constance a commission to decorate a church at Schwartzenberg. For this church Angelica executed her first original work, a fresco painting of the Twelve Apostles.

Her mother being dead, Angelica and her father once more became inseparable comrades, travelling through Italy, and living in various cities, such as Florence, Parma, Rome, Bologna, Naples, and Venice. At Florence she began to learn etching, her first work in this branch of art being dated 1762. In 1763 she etched the portrait of an artist with a pencil in his hand, and a student reading a book. In 1764 she went to Rome, where she remained for a year, studying perspective and making friends with many people of distinction, among whom were Raphael Mengs and Winckelmann. The latter sat to her for his portrait, and had considerable influence upon her style: from him she derived her tendency to imitate classical models. Winckelmann spoke in the highest terms of commendation of Angelica, telling a friend that she spoke English, French, Italian, and German with almost equal facility; that she sang with great taste, and was an eminent portraitpainter.

Toward the end of 1765 Angelica removed from Rome to Bologna, where she executed her finest etching, "The Toilet,"

ANGELICA KAUFFMANN
(From the painting by herself.)

a great favorite of Lady Wentworth, the wife of the British Minister to Venice: who, being about to return home after living for many years in Venice, persuaded Kauffmann and his daughter to accompany her. Angelica's fine voice, good figure, and charming manners, combined with her skill in music and painting, made her an almost immediate social success. The English nobles, who in that day were rather fond of playing the part of patrons to artists, received her very well, and gave her many commissions to paint portraits. The Marquis of Exeter introduced her to the leader of the English art-world, Sir Joshua Reynolds, whose criticisms much improved her technique, so that a considerable difference may be observed between her pictures painted before her arrival in England and those painted afterwards.

Angelica had been in England scarcely a year when the Duchess of Brunswick, sister of George III, engaged her to paint her portrait, and was so delighted with it that she presented Angelica at court, and

spoke of her to the king in terms of such praise that His Majesty asked her to paint the portraits of the queen and his son. From this time forth Angelica was the fashion in England: "she shared," as a writer of that day says, "with hoops of extra magnitude, toupees of superabundant floweriness, shoe-heels of vividest scarlet, and china monsters of superlative ugliness, the privilege of being the rage." Fortune showered her gifts upon Angelica: she was flooded with commissions to paint the portraits of the most distinguished persons: no great entertainment was complete if ungraced by her presence. Fuseli, the eminent painter and writer on art, courted her, and Sir Joshua Reynolds is said to have offered himself to her in marriage several times. It is singular that Angelica should have discouraged the attentions of so distinguished a man as the President of the Royal Academy, but it is said that she left Lady Mary Wentworth's

SIR JOSHUA REYNOLDS

house, and established herself in Golden Square, in order to escape from them. Sir Joshua, in his diary, often mentions Miss Angelica, and once even speaks of Miss Angel. He twice painted her portrait, and twice had his painted by her.

It is remarkable that a young woman, certainly of a very affectionate nature, idolized by society, and surrounded by brilliant men, could have resisted the attacks of Cupid as long as Angelica did, but her fate was near at hand, and a cruel and unmerited one it was. In 1767, when she was at the height of her popularity in the British capital, there appeared in good society a young man who asserted that he belonged to a noble Swedish family, and called himself Count Frederick de Horn. Being agreeable, well-mannered, and possessed of ample means, he was well received. He at once singled out Angelica for his special attentions, and his youth, handsome looks, and fluency won her heart. Telling her that some mysterious family circumstances made it necessary that their union should be kept secret for a time, he got her to consent to a private marriage, which took place in January, 1768. A few days had scarcely passed before ominous rumors began to be heard that the young man was an impostor who had robbed his master and assumed his title. These dreadful reports proved all too true, and the false count took flight. On February 10 of the same year the marriage was annulled through the influence of Angelica's friends at court, and the impostor, whose real name was Brandt, received a small annuity on condition of never returning to England.

Such is the tale generally told, but many different versions are given of the affair. It has been suggested that the real author of Angelica's misadventure was a Lord E-, who, having met her when she was a girl travelling with her father, made love to her, but was repulsed. Meeting her again in London, and already a famous woman, he renewed his suit, but was rejected with scorn. He is then supposed to have arranged this match with the sham count in order to humiliate Angelica and thus have his revenge upon her; but the story, besides being inherently improbable, is rendered more so by the fact that no trace of a Lord E- can be discovered among the acquaintances of Angelica. The episode of the false count has been much elaborated in Wailly's novel, "Angelica Kauffmann.»

The French biographers of Angelica tell a different story, saying that it was an eminent English painter who tried to take this mean revenge upon her; and one

writer goes so far as to suggest that Sir Joshua Reynolds was the man. It can hardly be supposed, however, that Sir Joshua, even if he really was responsible for the deception, ever intended it to go so far as a marriage with De Horn. Yet it is asserted that, for some reason or other, Angelica always refused to meet Sir Joshua after this humiliating episode. Others, again, say that Sir Joshua still remained one of her most trusted friends, and allege the continuance of their friendship as a proof that he really was not instrumental in cruelly deceiving her affections. The fact is that this entire episode is obscure, and so full of contradictions that it is impossible to gather any clear idea of what really took place beyond the fact that Angelica had an exceedingly brief and painful matrimonial experience with an impostor.

Disastrous as was Angelica's excursion into the realm of married love, her courage and elasticity of spirit soon reasserted themselves: she plunged eagerly into artistic work, and, when the Royal Academy was founded at the close of the year 1768, was chosen one of the thirty-six original members, contributing "The Interview of Hector and Andromache," and three other canvases (all representing classical subjects) out of 136 that were hung on the walls of the first exhibition. It was about this time that she painted what is probably her best picture-the portrait of the Duchess of Richmond, and also a very well known one of the Duchesses of Devonshire and Duncannon seated side by side in a park, and holding each other by the hand. From 1769 to 1782 she was a regular exhibitor, and occasionally sent as many as seven pictures. In conjunction with Biaggio Rebecca she painted the Academy's old lecture-room at Somerset House. In 1795 she painted a portrait of Lady Hamilton which is now at South Kensington. Even after she had left England and returned to Rome, she continued to contribute to the Academy, and exhibited pictures there as late as 1797. Much of her great success as a portraitpainter was due to the fact that her portraits, while unmistakable likenesses, were flattering. She was rather inclined to place her sitters in affected attitudes, but painted the drapery with great care.

Angelica was nothing if not ambitious. Not content with being a successful portrait-painter, she conceived the desire of

becoming a historical painter as well. In accordance with this ambition she exhibited "Vortigern and Rowena" in 1770; also "Hector Upbraiding Paris," and "Cleopatra at Mark Antony's Tomb." Her coloring was dainty and her touch delicate, but her painting lacked strength in conception and execution. Her drawing also was somewhat faulty, for, owing to the prejudice of the day, she had never made that thorough study of the nude which is the indispensable foundation of figure-painting. That the English held the fair foreigner in high esteem was shown by her being chosen, in company with Sir Joshua Reynolds, West, Bray, and Cipriani, to adorn the bare walls of St. Paul's Cathedral. But the work was not done, for, though the Dean of St. Paul's readily gave his consent to the plans, the Bishop of London curtly refused to approve them, regarding the decorations as savoring of popery.

Among painters, as among operatic singers, actors, and the rest of the artistic folk, intense jealousy is very common. Of this passion Sir Joshua Reynolds, as President of the Royal Academy, not unnaturally became the victim. It being his duty to reject many of the pictures offered for exhibition at the Academy, he incurred the dislike of many artists. In 1775 a painter named Hone, wishing to revenge himself upon Sir Joshua for some supposed injustice, exhibited a picture representing the President as an old man with a conjurer's wand, summoning spirits for the amusement of a child standing near him. The spirits were portraits of Sir Joshua's admirers, and among them was Angelica. But the British public resented this attempt to make their favorite ridiculous, so that Hone thought it best to write to her a letter of apology, in which he disclaimed any intention of wounding her feelings or making sport of her.

Angelica's patrons being of the highest and wealthiest class, she realized a handsome fortune by the sale of her paintings and etchings. Her accomplishments and personal graces rendered her welcome in the best London society; yet, when her father (to whom in all her prosperity she showed unfailing devotion) broke down in health, she gave up her splendid London life and returned with him to the Tyrol, in the hope that the air of his native land might prolong his life. By this time her husband, the impostor Brandt, was dead,