Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Beatrice.
J . A . Sterry says practically the same iu his well-known "Boudoir Ballads , " in the Avords Avhich folloAV , Avhich seem most appropriate to our train of thought just UOAV , and over AA'hich reflection may Avell shortly linger : — " They tell' me you're happy , and yet on reflection , I find they talk more of your wealth than of you ; And if you have moments of thought and dejection ,
It may be those moments are known to hut few . You've rubies and pearls and a brilliant tiara , You breakfast off sevres of the real "bleu du Roi : " 'Tis better , no doubt , than a heart mia earn , And a poor posey-ring Avith its " Pensez a Moi . " it * i . >* At times when mid riches and splendour you languish , To still your poor conscience you fruitlessly try ,
As tears are fast falling in bitterest anguish , You'll own there is something that money can't buy . Yes , love , there are mem ' ries which gold cannot stifle , v . The ghost of a dead love that will not be laid , And while in the bright world of pleasure you trifle , Do you never meet the sad eyes of a shade ?" Mr . MillerAvho has iA'en rise to this " iligant" little dissertation on the heart
, g , " a very quare and troublesome consarn , " as Paddy says , thought he had got a heart ( he might haA'e ) , ancl as he had taken it into his head that Beatrice liked him , he determined to offer it to her , as her OAATI , and only hers . The steps he took , and the follies he committed in carrying out this hard undertaking Ave shall see in our next chapter . ( To be continued . )
Art-Jottings In Art-Studios.
ART-JOTTINGS IN ART-STUDIOS .
BY BRO . REV . AV . TEBBS . MlJEAL D-ECOBATIOK— " FlTESCO . " —II . TTAYING described the process of " fresco " -painting , we may UOAV turn our attention 11
--- to the controA'ersy as to its being the best possible method of decorating Avalb surfaces . Let us , then , repeat , in the briefest possible manner , Avhat "fresco" is . It is » mode of painting "in the flat , " capable of great breadth of colouring ancl scope of design , as well as , under ordinary circumstances , rapidity of execution . The exact nature of the is laying colour in such that the vehicle
process a on a AA'ay employed evaporates together Avith the moisture of the fresh plaster-ground , leaving the colour incorporated Avith the ground-surf ace ; whilst , at the same time , a kind ol ¦ crystallization takes place aboA'e the face of the colouring , giving it a permanent protection . The A'otaries , theu , of " fresco" claim for it pre-eminence above all other methods for the folloAving
reasons : 1 . It has the property of clearness ancl of exhibiting all the colours emp loyed m » state of absolute bri ghtness and purity . It is free from the surface-dryness or clulness ; of Avork executed in tempera , and from the glossiness ancl reflected lights of oil-painting ; For these reasons a "fresco" appears to as great advantage from one point of Aiew &
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Beatrice.
J . A . Sterry says practically the same iu his well-known "Boudoir Ballads , " in the Avords Avhich folloAV , Avhich seem most appropriate to our train of thought just UOAV , and over AA'hich reflection may Avell shortly linger : — " They tell' me you're happy , and yet on reflection , I find they talk more of your wealth than of you ; And if you have moments of thought and dejection ,
It may be those moments are known to hut few . You've rubies and pearls and a brilliant tiara , You breakfast off sevres of the real "bleu du Roi : " 'Tis better , no doubt , than a heart mia earn , And a poor posey-ring Avith its " Pensez a Moi . " it * i . >* At times when mid riches and splendour you languish , To still your poor conscience you fruitlessly try ,
As tears are fast falling in bitterest anguish , You'll own there is something that money can't buy . Yes , love , there are mem ' ries which gold cannot stifle , v . The ghost of a dead love that will not be laid , And while in the bright world of pleasure you trifle , Do you never meet the sad eyes of a shade ?" Mr . MillerAvho has iA'en rise to this " iligant" little dissertation on the heart
, g , " a very quare and troublesome consarn , " as Paddy says , thought he had got a heart ( he might haA'e ) , ancl as he had taken it into his head that Beatrice liked him , he determined to offer it to her , as her OAATI , and only hers . The steps he took , and the follies he committed in carrying out this hard undertaking Ave shall see in our next chapter . ( To be continued . )
Art-Jottings In Art-Studios.
ART-JOTTINGS IN ART-STUDIOS .
BY BRO . REV . AV . TEBBS . MlJEAL D-ECOBATIOK— " FlTESCO . " —II . TTAYING described the process of " fresco " -painting , we may UOAV turn our attention 11
--- to the controA'ersy as to its being the best possible method of decorating Avalb surfaces . Let us , then , repeat , in the briefest possible manner , Avhat "fresco" is . It is » mode of painting "in the flat , " capable of great breadth of colouring ancl scope of design , as well as , under ordinary circumstances , rapidity of execution . The exact nature of the is laying colour in such that the vehicle
process a on a AA'ay employed evaporates together Avith the moisture of the fresh plaster-ground , leaving the colour incorporated Avith the ground-surf ace ; whilst , at the same time , a kind ol ¦ crystallization takes place aboA'e the face of the colouring , giving it a permanent protection . The A'otaries , theu , of " fresco" claim for it pre-eminence above all other methods for the folloAving
reasons : 1 . It has the property of clearness ancl of exhibiting all the colours emp loyed m » state of absolute bri ghtness and purity . It is free from the surface-dryness or clulness ; of Avork executed in tempera , and from the glossiness ancl reflected lights of oil-painting ; For these reasons a "fresco" appears to as great advantage from one point of Aiew &