Puslapio vaizdai
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Suddenly the chatter of the sergeant's teeth

Stopped. He was angry, too;

And he whispered: "Are you game? Get the Maxim gun!"
I hugged him. "It will scare them blue."
Slowly, very slowly, we rose to our feet;
I was conscious of my knocking knees.
The murmur of their voices was an eery sound
Like wind in wintry trees.

I saw them staring from the tail of my eye
As the tripod legs we set.

We lifted the gun and clamped it on,
With the muzzle at the parapet.
Nervously I pushed in the tag of the belt;
The sergeant loaded and laid
Quietly, deftly; the click of the lock
Was the only sound he made.

"Ready!" he nodded. I turned my head.
And nearly collapsed with fright.
Four of them were standing at my shoulder,

The others to the left and right.

Then, "Fire!" I shouted, and the gun leaped up

With a roar and a spurt of flame.

The sergeant gripped the handles while the belt ran through, Never stopping to correct his aim.

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American Women in Sculpture

By ADA RAINEY

Author of "A New Note in Art," etc.

CULPTURE has never been thought

SCULPTU

a medium particularly feminine; that so many women should recently have chosen it for their own is significant. Form, the chief appeal of sculpture, has formerly been considered the weakest part of woman's artistic equipment; while she has been accorded a feeling for color, the most emotional element in art, her feeling for form has previously lain in abeyance. But it now seems that the vital

changes that are taking place in ideals, in thought, and in mode of living are being reflected in the quality of work accomplished by women. As surely as the old shackles are being cast off, a new creativeness is to be discerned in their artistic work. Freedom, the creative impulse, and joy are always of divine heritage; they are the essentials of great art.

That

women sculptors are now blazing this path can clearly be seen, I think.

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creativ artisti ulse, and

ge; ther

That

ing the

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